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DRAWING and PAINTING 
SELF-TAUGHT 

BY 

ANSON K. GROSS 

INSTRUCTOR 

SCHOOL OF THE MUSEUM OF FINE ARTS, BOSTON 

AUTHOR OF TEXT-BOOKS ON ART 

AND THE 

DRAWING AND PAINTING GLASS 

w.™ GRADED LESSONS «v 

EVELYN F. CROSS 

SUPERVISOR CF ART, STONEHAM, 
MASSACHUSETTS 




A. K. CROSS 

WINTHROP 52, MASS. 

1922 



Copyrighted by 

ANSON K. CROSS and EVELYN F. CROSS 

1922 






PRESS OF GEO. H. ELLIS CO. (INC.) BOSTON 

JUl -5 1922 

©CI.A677492 



IN MEMORIAM. 

I inscribe these pages to the memory of Professor Walter 
Smith, the founder of the Massachusetts Normal Art School 
and its director during the first two years of my studentship. 

After several foreign expositions had shown that a manufac- 
turing state must encourage art education if its industries are to 
succeed, the Commonwealth of Massachusetts and the City of 
Boston extended a joint invitation to Professor Smith to take 
charge of Art Education in the State and in Boston. This he did 
in 1871. 

Professor Smith was recommended by English Art Educators 
as the best man for the work, and the success of the Normal Art 
School is due to the splendid influence and unusual ability of 
Professor Smith, who fought for all that was sane, honest, and 
true in art and art education. 

This nation is greatly indebted to Professor Smith for the 
splendid accomplishments of those who were students under 
him, and the many more who profited by his influence after he 
had left the school in charge of those who maintained the high 
standards which he had established. 

As Director of Art for Boston he prepared graded lessons for 
his teachers. These were desired for general use, and thus the 
"Walter Smith Drawing Books" were published. As a boy I 
used these books, and when a drawing was to be copied I followed 
the printed directions and made my copy either a little larger or 
a little smaller than the original. 

When, a few years later, a revision of the books was desired 
an unfortunate controversy arose the circumstances of which 
have been given me by many who were familiar with them at 
the time, as I now relate them. 

After Professor Smith had approved each page of the new 
edition, changes were made without his knowledge, and when 
the books were printed a series of dots appeared in each of the 
spaces formerly left blank for the drawing to be enlarged or re- 
duced by eye. Professor Smith asked to have these dots taken 
out, and this being refused he said his name must not appear on 
the books and he could not use them in the Boston Schools. He 
was informed that if he did not, he would probably lose his posi- 
tion. In spite of what he may have regarded as an implied threat, 
he insisted that the books be printed without the dots or that 



iv DRAWING AND PAINTING SELF-TAUGHT 

his name be taken off the books, although this no doubt meant 
the loss of a fortune in royalties. Not being able to take out the 
dots he refused to use the books in Boston, although this involved 
the hurried preparation of substitute lessons. 

When Professor Smith resigned life positions in England, he 
was told his Massachusetts positions would be as permanent, 
but at a meeting of the School Committee which came shortly 
afterwards he was not reelected. Soon after this he lost the 
State positions and went back to England to take charge of the 
English Technical College in Bradford, Yorkshire. Four years 
later he died at the age of only fifty. 

It seems so incredible that an expert unusually inspiring and 
successful as director, teacher, author and lecturer could have 
been unjustly treated that I wish to call attention to four Govern- 
ment reports upon "Art and Industry" by Colonel Isaac E. 
Clarke in which many pages are devoted to commendation of 
Walter Smith and his work in America. The following is quoted 
from this report. Part II, xlvii. 

" In the widely scattered homes of this broad land the young 
men and the young women who rejoiced to sit at his feet and who 
caught the inspiration of his enthusiasm will long cherish his 
memory and mourn his loss; while those who recognized the 
uncommon genius of the man and who realize that he could leave 
no single successor who would be considered as of equal authority, 
can never cease to regret that his career in America should have 
been for any reason so prematurely and infelicitously ended." 

"It is gratifying to know that although absent for thirteen 
years, he was so esteemed in his native country as to be eagerly 
welcomed on his return and at once given an honorable and 
lucrative position. . . . There is however little satisfaction to 
those who realize what Walter Smith had already effected here. 
. . . This English provincial college gains a great teacher but 
America loses an unrivalled educational leader." From Part I, 
p. 62. 



PREFACE. 

Thirty years ago I made my first efforts to cause instruction in 
drawing to become vision training in place of picture making 
in the production of which the student's hands and teacher's 
eyes and knowledge were combined. I have endeavored to ac- 
complish this result by having the student substitute many 
quick sketches, each self-corrected for one or more long pieces 
of work of finished but superficial result. 

In 1895 I published the book Free-hand Drawing and explained 
that I made use of clear window glass simply as a drawing tablet 
to be used in place of paper; that the drawing was made upon 
it entirely free-hand when a sheet of white cardboard was placed 
behind the glass; that all tests and the usual measurements were 
forbidden until the drawing became as perfect as possible by 
eye alone; that when complete the drawing was tested for the 
first time by removing the card and looking through the glass 
to see if the drawing would appear to cover the object. I care- 
fully explained that the Glass was not for tracing or for correct- 
ing work on paper, and that it was soon discarded because its 
proper use resulted in eyes that were truer than the results of 
tracing or other use of the Glass as an aid to results on paper. 

In spite of these assertions which have been repeated on every 
possible occasion since the method was published, the Glass is 
still supposed to be a device for tracing, first upon the Glass, and 
then from the Glass to paper, as explained by Leonardo da Vinci. 

When my first book was written the Glass was without the 
spirit-level, which experience proved necessary if students were 
ever to see angles truly. Only in recent years has the Glass been 
perfected by the addition of two lenses, which enable students 
to discover mistakes in light and shade and color as surely as 
the spirit-level enables them to find mistakes in perspective 
outline. 

New methods of using the Glass with young pupils have re- 
cently been tried, and have proven that it is possible for fourth 
grade children to draw from nature with class results that equal 
those in other subjects. 

New methods of using the Glass in Art Schools for the train- 
ing of the memory and for the study of free-hand perspective 
have been tried and perfected. 

These methods enable all the students to understand with 



vi DRAWING AND PAINTING SELF-TAUGHT 

little aid from the teacher, whereas formerly with all possible 
assistance, only the talented were able both to explain and prac- 
tically use the essential theories. 

Therefore this book is undertaken to explain these new methods 
as well as emphasize again the folly of tracing and the usual 
tests that substitute measurements for true eyes. Such methods 
are crutches that enable one to hobble at the start and insure 
the continuance of this crippled condition as long as tests and 
measures are depended upon more than the vision. 

The methods of this book are not based on tracing or any 
system of measuring or testing to be used permanently. Their 
sole aim is to discard all measures and tests as far as possible 
from the start. Even pencil measurements are forbidden with 
the rest, until the student has done his very best by depending 
upon his eyes alone. Then only is the first test permitted, and 
it is so simple that a child can apply it perfectly and be his own 
teacher. 

By this method the first drawings are made with a special, 
soft crayon upon a sheet of clear window glass, a piece of white 
cardboard being held behind the glass so that the drawing can 
be seen upon the glass as readily as it would be upon paper. 
The test is applied by removing this cardboard back and holding 
up the glass to see if the lines of the drawing will appear to cover 
the edges of the object studied. If they do this when the spirit- 
level shows that the glass is held level, then the angles and pro- 
portions of the sketch are correct. If the lines will not cover 
those of the object, however, these mistakes are seen, and the 
student thus instructs himself. 

These methods do not render it easy for even the talented to 
become artists, but they do enable object drawing to be studied 
profitably by all Grammar School pupils who are able to do the 
other required work. 

These methods will enable any one to gain in his own home 
the power to draw and paint truthfully from nature. When 
this is understood and proven, High School graduates will be 
expected to have this ability. In time this will mean a general 
appreciation of art that has never before been known. This 
will lead to the recognition of exceptional ability and the support 
of artists who have it. It will not increase the number of poor 
artists, for when all are able to master drawing as readily as writ- 
ing or arithmetic, those of average ability will not study art as a 
profession. They often do this now because average power to 
draw is falsely considered proof of genius. One who can write 
only a descriptive letter has as much chance of becoming a 
famous poet as a student of art has of becoming a famous 



PREFACE vii 

artist when his only power is that of drawing truthfully from 
nature. 

These methods will not enable the student or the teacher to 
avoid the hard work that must always underlie real success. 
Copying and dictation and most other subjects give results to 
exhibit more quickly than honest use of the Glass. Teachers 
who try to give visual power, will find that the Glass does away 
with the strain involved in correcting drawings, and enables 
the class to make many more drawings and correct them all 
with very little assistance. 

Drawing teachers are now the most overworked of all teachers, 
and the failure of drawing in the elementary schools is not due 
to lack of effort or ability on their part. I have no word of criti- 
cism for the drawing teacher, who far too often is an artist by 
nature and training, and yet not free to teach as he wishes, be- 
cause of influences that confine and restrict art instruction in 
public and elementary schools to a greater degree than other 
subjects. 

The possibilities of this method can not be known until students 
who have used the Glass all through the Grammar School grad- 
uate from the High School. Such students should do work far 
better than any produced thus far through only a partial use 
of the Glass. 

This book is to supplement my earlier books and not to take 
the place of any of them. It is not a complete Text-book for 
art students' use, but it aims to give a quick and sure method 
whereby the student may gain by self-instruction true vision for 
outline, values, and color. 

The chapter on Perspective is not a full presentation of the 
subject, for the scientific method is not explained at all, and only 
the few problems most necessary to the artist are presented in 
the new way developed from the use of the Glass in the study 
-of object drawing from memory and from observation. 

The chapter on Graded Lessons does not pretend to be a com- 
plete course for the public schools, but only a practical method 
for teaching object drawing in the grades. Many excellent 
books supply all needed aid in design and other subjects that 
should be included in a public school course. 

The purposes of this book are : First, to make it possible for 
any person to gain power to draw and paint from nature by 
home study; Second, to present a method for use in the public 
schools that shall make object drawing as generally possible as 
other studies; Third, to make an effort to harmonize the con- 
flicting views of those teachers who consider drawing from the 
opposing standpoints of art and science and who thus make it 



Vlll DRAWING AND PAINTING SELF-TAUGHT 

so artistic that there is no foundation of science to support free 
expression, or on the other hand make it so literal that there 
is little chance for free and artistic expression. I shall in this last 
effort try to show that science and art must be inseparable in the 
practice of the artist and should have equal attention in the 
schools. 

I have not reproduced my students' drawings on account of 
their excellence but because they are the unaided efforts of be- 
ginners. When they are compared with the crude sketches 
made on entering the gain is apparent though defects are still 
evident. These mistakes were pointed out but corrections were 
not permitted, since this would have caused reliance on the 
instructor more than on self-criticism. 

It is impossible fully to show the actual gain since the process 
will not reproduce the quick sketches that are most conclusive. 
Figures 4 and 5 show best the value of the method, for these 
prize drawings were made by students whose average age was 
twenty-one and who had spent about three years in the Massa- 
chusetts Normal Art School, where only a small part of the 
time is given to figure drawing. These prizes were competed 
for by students of the best art schools in the country in which it 
is the custom to spend six or eight years in study of the figure alone. 

When the Faculty of the Art Museum School secured my 
appointment as instructor of still life it gave me my first oppor- 
tunity to teach drawing, values, and color at the same time, 
for in the Normal Art School, I was restricted to outline. A few 
months' experience with the serious students of the Museum 
makes me confident that as much time can be saved in the study 
of painting by the use of the Painting Glass as is saved in the 
study of drawing by the use of the Drawing Glass. As the 
Painting Glass was not used by the students in the Normal Art 
School the only illustration that is positive proof of its influence 
is the Frontispiece. 

This book is very different from my first ones, and it is dif- 
ferent from what I would have written five years ago. In the 
next five years I may wish to change this book, but I offer it as 
the result of my experience up to this time, in the hope that it 
may aid others to make truthful nature study the foundation 
for art expression. 

The reproductions of pencil drawings by Miss Anna M. Hath- 
away combine truth, beauty, and good technique in a way 
helpful for students to study. Miss Hathaway was first a student 
and has been for many years a teacher in the Normal Art School. 
Her drawings show what it is possible for a talented student to 
do as a result of the broad training recommended. 



PREFACE 



IX 



I am indebted to my sister, Miss Evelyn F. Cross, for the 
demonstration that has enabled grade teachers, who have never 
made a special study of drawing, to use the Glass with such suc- 
cess that the object drawing has been a pleasure to themselves 
and their pupils when formerly all had disliked this subject. 

I am also indebted to Mr. Arthur B. Webber, Superintendent 
of schools at Stoneham, Mass.,— who permitted the experiments 
with the Glass at a time when object drawing has not been the 
fashion in Grammar Grades. Without this assistance the first 
experiments, that failed, would have been the last. 

I am indebted to the Suffolk Engraving Co. for unusual in- 
terest and care in the reproduction of difficult subjects. 




From photograph of the pitcher and background from which the Frontispiece 

was drawn. The apple was not the same, but the light and shade and color 

values are nearly true in this photograph, and prove how much the student 

gained in the first lesson. 



CONTENTS. 



PAGE 

Preface v 

CHAPTER I. 
Vision Truer than Tests . 1 

CHAPTER II. 
Drawing Self-taught 10 

CHAPTER III. 
Painting Self-taught 40 

CHAPTER IV. 
Memory Drawing 74 

CHAPTER V. 
Perspective Theory 83 

CHAPTER VI. 
Drawing No More Difficult than Other Subjects 104 

CHAPTER VII. 
Drawing in the Public Schools . 117 

CHAPTER VIII. 
Model Drawing in the Grades . 130 

CHAPTER IX. 
Lessons for Graded Schools . 142 

CHAPTER X. 
Advice to the Art Student 167 

CHAPTER XI. 
The Failure of Education 176 

CHAPTER XII. 
State Laws on Drawing 186 

Report of New York College Entrance Examiners 187 

Madame Cave's Method 191 

Education for the Talented ' 193 

List of Reference Books 199 

Letters from Painters, Sculptors, Educators 202 



DRAWING AND PAINTING SELF-TAUGHT 



Chapter I. 
VISION TRUER THAN TESTS. 

1. Ruskin said, "The excellence of an artist as such depends 
wholly on refinement of perception and that it is this mainly 
which a master or a school can teach. . . . One task, however, 
of some difficulty, the student will find I have not imposed upon 
him; namely learning the laws of perspective. For perspective 
is not of the slightest use, except in rudimentary work. . . . No 
great painters ever trouble themselves about perspective and very 
few of them know its laws; they draw everything by the eye, 
and, naturally enough, disdain in the easy part of their work 
rules which can not help them in difficult ones."* 

2. Artists and Educators Differ. — Though the above state- 
ment harmonizes with the practice of the masters, past and pres- 
ent, it has not influenced the educators who are apt to pity the 
artist for his ignorance, and assure students how much better 
the artists would paint if they would understand theory. 

The artist's influence is confined to his students. The educa- 
tor's influence extends far more widely through art schools, 
normal schools, universities, summer schools, public schools and 
especially through text-books and publishing firms. Thus 
elementary art study is far too often based on rules, theories, 
tests and measures instead of on vision, and it places special 
emphasis on technique instead of on true representation. 

3. Trust Your Eyes. — I was taught to trust measurements 
more than my eyes, and therefore I explained in my first books 
the best way to measure. Several years after these books were 
written my pupils proved to me that they could see more exactly 
than they could measure even when they followed my directions 
for measuring, and then I began to forbid the pencil measure- 
ments that prevented reliance upon more truthful eyes. 

Any teacher may prove that the average pupil can see closer 
than he can measure by placing his measured drawing far enough 
away to have it look the same size as the object and then asking 

* Preface to "Elements of Drawing." 



2 DRAWING AND PAINTING SELF-TAUGHT 

him to forget his measures and decide by eye alone whether the 
drawing is stouter or slimmer than the object. Even before the 



i 











Fig. 1.— From sketch by Rembrandt (1607-1669). 

eyes have been trained to draw without measures, 90% of the 
replies will improve incorrect drawings. 

4. To see truly you must look quickly from the object to 
the drawing, and transfer the vision back and forth from one to 
the other as rapidly as possible, trying to forget that one image 
is from the drawing and the other from the object. This quick 
comparison will suddenly enable you to see appearances on the 
plane of the drawing, and thus realize your mistakes, and the 
folly of depending upon measures that can never equal your 
eyes. 

5. Tests applied before you draw or to aid results on paper 
are harmful if relied on more than vision, for the proper use of 
tests is to train you to see mistakes after your eyes have done 
their best without the tests. The beginner who must measure 
in order to continue drawing is as foolish to spend weeks or 



VISION TRUER THAN TESTS 3 

months on one drawing as the pianist would be who tried to 
master Beethoven without spending any time on finger exercises. 




Fig. 2. — From oil monochrome. 



6. Use the Glass properly and it will show you mistakes 
more surely in your first lesson than could the best artist. There- 
fore, in order to improve, there is no need for you to finish your 
first sketches. Never try to finish any drawing more difficult 
than an outline from a copy until you have made so many hun- 
dred sketches from nature that you begin to see truly. 

7. Draw Bulk Instead of Outlines. — The secret of success as 
draftsman, sculptor, or painter lies in thinking of and represent- 
ing from the start the diameter or bulk of an object and each of 
its parts. As long as you look at and draw lines, or edges, you 



4 DRAWING AND PAINTING SELF-TAUGHT 

will fail to represent the bulk correctly. You will never draw 
well till you stop thinking of lines and edges and continually ask 
yourself as you draw if your sketch is fatter or slimmer than the 
model. 

8. Fig. 1 reproduced from a sketch by Rembrandt shows 
how the masters begin to express mass and action by the fewest 
possible lines. You should study such sketches often until you 
can think of and work for mass, and are not afraid of getting an 
extra line. Study of this sketch will bring out horses and men 
where at first no form is evident. 

9. Drawing Should Look as Large as the Model. — The 
drawing problem is much simplified by placing the drawing in 
such a position and at such a distance from the eye that it may 
appear the same size as the object and on the same level. A life 
size drawing should be placed at the right or left of the object and 
the same distance away from the eye and the drawing made by 
memory of observations repeated as often as desired from the 
chosen position. A smaller drawing should be placed enough 
nearer the eye to appear full size from the chosen position. To 
sit or stand and draw from any position upon an easel that you 
can reach without walking up to it, involves making a small 
drawing unless the drawing is to look much larger than the model 
while you work upon it. Unless the drawing looks the same size 
as the subject it is much harder to see its mistakes. Therefore 
art school students are often almost forced to measure because 
they can not choose their positions and the size of the drawing 
so as to use their eyes. This is one reason why they progress so 
slowly that only a few of the most talented ones can depend upon 
their eyes when they finish their art school courses. 

10. To draw the size the object appears simplifies the com- 
parison of the drawing with the model for it reduces this com- 
parison to one plane (that of the picture) by making it possible 
for you to forget that the object is solid and behind the draw- 
ing and think of it as if it were a second drawing on the same 
plane as your own drawing. In thus comparing, however, you 
should think first of bulk and diameter and never of the details 
in the contour until you are sure you have the weight and action 
correct. 

11. Limit the Time on One Drawing. — Time spent on draw- 
ings that are not corrected is wasted, and so by usual methods 
the class must finish every sketch in order that the teacher may 
criticise each drawing. The Glass enables every student to crit- 
icise sketches made in even a minute or two, therefore it is wise 
to limit the time that may be spent on one drawing. First-year 
students should seldom spend more than one day on one draw- 




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6 DRAWING AND PAINTING SELF-TAUGHT 

ing, and this only at the end of the year. Second-year students 
will be wise not to spend more than two days on one draw- 
ing. The more advanced the student the longer the time 
that may be well spent on one drawing; most advanced art school 
students may spend a week or two on one drawing or painting. 

Fig. 2 is from an art school drawing made in 1882 by a student 
nineteen years old who had been in the School one year when 
the work was completed. The drawing is a monochrome in 
oil-color and several weeks were spent upon it. The time would 
have been more wisely spent in many quick sketches with pos- 
sibly one carefully finished study representing a small part of 
the cast. 

12. Think the Tests.— After a few months of faithful study 
upon the Glass, your eyes will become so true that when you 
apply the tests to a sketch on paper, they will show no errors. 
Then you will begin to omit the tests because you have learned 
to apply them visually from the very start of your sketch, and 
more exactly than is possible when you must depend on the 
spirit-level and thread. 

13. This true vision will not insure success as an artist, or 
the speedy realization of your full power, for this is impossible 
to youth. No artist who is honest will cease to improve as long 
as he retains vigor of mind and body, and the chief object of 
this book is to aid the student to a true vision and vital expres- 
sion of appearances in less time than is needed by usual methods. 

14. Do Not Trace. — The Glass may be used to trace results 
to paper, but if in earnest you will not do this, or hasten to pro- 
duce anything to exhibit. If you do not understand that the 
correct drawing is one which will appear to cover the object 
behind the Glass, it will do no harm to make a few tracings on 
the Glass in order to make perspective clear, but you should 
not transfer these tracings to paper, or make any attempt to 
draw pictures on paper, until you see well enough to do the work 
without aid from the Glass or the teacher. 

15. The Artist Uses Tests. — When your student-days are 
over you may use a pencil for a few measurements, or you may 
use a finder with equal squares to measure proportions. You 
may even use a photograph if you understand that it is as false 
in values as it is in drawing and useful as a record of facts not 
to be copied literally. But you will, if you are wise, never be 
the slave of any method or science, for the artist has always been 
in advance of the scientist and always will be, since science deals 
with the material facts, and the artist, in the person of the in- 
ventor and discoverer, has always been busy in overturning 
accepted theories and replacing them with truer ones. 



VISION TRUER THAN TESTS 7 

16. The Artist is Inspired. — Art and invention are due to 
the intelligence that refuses to accept the orthodox, or any au- 
thority that can be disproved. The artist has known the truth 
before the scientist, because he trusts his own inspiration more 
than the theories of the Schools. The artist builds a steamer 
to cross the Atlantic to bring back a book written by a scien- 
tist to prove that no boat can be built to carry coal enough to 
steam across the ocean. The artist discovers the X-ray which 
scraps all text-books on science; and he builds an aeroplane 
to show the absurdity of the text-books that state the impossi- 
bility of building a flying machine heavier than the air. 

17. Text-Books False. — Text-books to this date have been 
records of the ever changing imperfect theories of their periods, 
and the future may prove many present theories as false as those 
we have outgrown. Do not believe the inventions are all made 
and nature's laws all stated, for the future will record more of 
progress than the past, and honest students will gain the reward 
for hard work for ages to come. 

When the educator will admit the inspiration of the artist, 
inventor, and poet, it may be possible for him to modify the 
inartistic methods that now produce results whose "Superficial 
pretence actually tended to degrade the taste and to blunt rather 
than sharpen the observation of the pupils." See Section 266. 

18. Practical knowledge can not be gained except from hard 
work that combines theory and practice, therefore no change of 
educational methods, or of social conditions or of laws, will ever 
in fact make men free and equal as students or producers. 

Some time in the future the artist, the scientist, and the edu- 
cator will have more equal influence in our schools. Then 
ignorance, hatred, bigotry, superstition and selfishness will grad- 
ually be outgrown and a real civilization begin which will value 
intellect more and wealth less, and will therefore offer equal 
opportunity for education to all who are willing and able to pay 
the price in work and study. 



Prize Drawing, Academy of Fine Arts, Philadelphia. 




Fig. 4. — First Prize of $200 in 1919 was awarded John H. Crossman, who entered 
the Normal Art School in September, 1915, at age of 18. In May, 1918, he enlisted 
in U. S. Coast Artillery. His first year of study included the use of the Drawing 
Glass. This competition was open to all Art Schools in the country. 



Prize Drawing, Academy of Fine Arts, Philadelphia. 




Fig. 5. — This drawing won Third Prize of $100 in 1921. It is by Beatrice Dwan, who 
entered the Normal Art School in 1918, at the age of 17. 

First Prize of $200 was awarded to Ruth Deal in 1920. She entered the Normal Art 
School in 1917, at age of 17. Her drawing was so injured it can not be reproduced. 
Miss Deal and Miss Dwan used the Drawing Glass in their first year. 



Chapter II. 
DRAWING SELF-TAUGHT. 

19. A Perspective Drawing. — An artist tries to create an im- 
pression of nature's appearances. Usually he works upon a flat 
surface. A perspective drawing is one upon a flat surface, which 
will create in the eye an image exactly like that produced by 
nature. In other words, if a sheet of glass is set up between the 
eye and the object, and lines drawn upon it to exactly cover or 
hide those of the model, when the eye is at one fixed point, the 
model may.be taken away and the drawing on the Glass will 
still cause in the eye the same linear image that the object pro- 
duced. Leonardo da Vinci explained the method of making a 
perspective drawing by tracing it on a sheet of glass, and since 
this is the simplest method, it has continued in use to this day. 

20. Perspective Distorts. — The science of perspective has 
been understood for hundreds of years, and is as exact as any 
other branch of geometry. It enables one to draw on paper the 
exact lines which would be traced on a sheet of glass set up in a 
given position with reference to the eye, and to an object whose 
size and relation to the eye is known. Such a drawing will 
create in the eye an image exactly like that caused by the object 
it represents, as long as the drawing is viewed from the fixed 
point from which the object is supposed to be seen. But if it is 
looked at from any other distance or direction, the drawing will 
not look like the object, and may often be as much distorted as 
Fig. 6 which was photographed from nine perfect spheres. 

21. The Photograph is a Perspective. — The common photo- 
graph is a perspective, since it is the intersection of a plane by 
lines that converge from the object toward one point. The 
distortion of Fig. 6 which causes only one of the nine spheres to 
be represented by a circle, illustrates the difference between 
the photograph or any plane perspective and what the eye really 
sees. 

Only the small part of a photograph, or any perspective on a 
plane, that is exactly opposite the eye, is exactly like what the 
eye sees. This is fully illustrated in Chapter VII of "Free-hand 
Drawing" by the author, and this chapter shows why depend- 
ence upon any method of measuring departs from the vision 
and the feeling of the artist, by producing the perspective 



12 DRAWING AND PAINTING SELF-TAUGHT 

distortion inevitable when any plane cuts the visual rays to the 
outer parts of a picture obliquely. 

Perspective distortions are not the only reasons for avoiding 
scientific perspective and mechanical measurements, for those 
who depend upon them do not train the vision, and never obtain 
eyes that are trustworthy ; besides this, the measurements and 
tests applied are often so inaccurate as to do more harm than 
good. 

22. Substitute Vision Training for Picture Making. — Glass 
has been so long used for tracing and mechanical aid to results 
on paper that those who hear of a new method of drawing on 
glass are likely to conclude that it is another mechanical system 
for the artist to oppose. Therefore it is hoped that those who 
read this book at all, will read it long enough to discover that it 
does not recommend glass for tracing, or as an aid to results 
on paper, but for free-hand drawings made without measures to 
train the eyes to see so closely that the use of the Glass and all 
other tests finally become unnecessary. 

This result is accomplished by using the Glass as a drawing 
tablet in place of paper. The drawing is made upon it with a 
specially designed crayon, all measurements and tests being for- 
bidden, also all tracing, the student being required to make and 
change the drawing by eye alone, until it seems perfect. Then, 
and then only the student may apply the first test given, by hold- 
ing the drawing up between the eye and the object to see if the 
lines and proportions of the sketch will perfectly cover those of 
the object. In this way children as young as seven years are able 
to see their mistakes and realize that the Glass is not a mechanical 
device to aid in making drawings on paper but that it gives a 
scientific test of the accuracy of one's vision. It is the most 
artistic of all methods, in absolutely forbidding all finished draw- 
ings on paper until such time as they can be made without the 
aid of the Glass or any other test. 

23. The Drawing Glass. — This Glass consists of a sheet of 
clear window glass set in a frame of wood and so held by screws 
that it may be quickly replaced if broken. A white card slides 
in grooves behind the Glass so that the drawing on the Glass may 
be seen as readily as if made on paper. The drawing is made 
with the "Cross" crayon and erased with a piece of dry cotton 
flannel or outing cloth. 

A spirit-level is inserted in the top edge of the frame to show 
when the frame is level. This is not used when the sketch is in- 
progress as the lines of the frame give the directions for the 
horizontal and vertical lines of the sketch, and so when drawing 
it is better not to look at the spirit-level even when the frame is 



DRAWING SELF-TAUGHT 



13 



held so nearly upright that the level will indicate truly. It will 
not do this when the frame is much inclined, and you should 
never think of the level as you draw. The level is, however, 
absolutely necessary when a drawing is to be tested, as without 
its aid even the best students will incline the frame and fail to 
find their mistakes in angles. 

24. Do Not Foreshorten the Glass. — When drawing on the 
Glass it should be held in the left hand as far as possible from 
the eye, as shown in Fig. 7, which represents a pupil drawing 
from a cylinder placed at the back of her own desk. The lower 
edge of the frame rests on the desk. The Glass slants backward 




Fig. 7. — Making the drawing. 



from this edge away from the pupil so that the plane of the Glass L 
is at right angles to a line from the eye to the center of the Glass. 
The Glass must always be thus held at right angles to your line 
of sight, both when you draw on it, and when you test the draw- 
ing, for if not looked at perpendicularly the drawing upon its 
surface will be foreshortened and thus distorted as are the spheres 
in Fig. 6. The correct position will be given when the opposite 
corners of the frame are held equally distant from the eye or 
when the light is such that you can see your eye reflecting in 
the center of the Glass. 

25. Test for Position of Glass. — It is surprising how often 
students while drawing foreshorten their Glass or paper to the 
extent of 30° or even 45°. Many students are positive they 
are looking at right angles to the surface, when the angle is 70° or 
80°. A simple test for the position of 90° is given by placing the 



14 DRAWING AND PAINTING SELF-TAUGHT 

unsharpened end of a lead pencil that has no eraser in it flat 
upon the Glass or paper so that the pencil stands at 90° to the 
surface. Then if the pencil points to your eye and you see only 
the sharpened end with none of the curved surface, you are 
holding the drawing so that you see its actual proportions. If the 
pencil does not point to the eye, you will readily move the Glass 
or the drawing board, so that you can see only the end of the 
pencil. Try this experiment once in a while, until your eye is 
trained to measure the correct position without this aid. 

26. Tracing or Measuring Delays Vision. — You should 
follow the directions printed on the back of the sliding card and 




Fig. 8. — Testing the drawing. 

sketch entirely free-hand, without any measuring or pencil 
tests, and without tracing or using the Glass as a finder. Until 
your eyes have done their best, you should train them by sketch- 
ing with the faintest lines you can see, and changing and correct- 
ing them entirely by eye, until the sketch seems perfect. Then 
you should hold it at arm's length, and on the apparent level 
of the object, so that you can look from the object to the draw- 
ing, back and forth, as quickly as possible, in a last effort to see 
by eye some needed correction. When quite sure the drawing 
is perfect, apply the final test of looking through the Drawing 
Glass to see if each line of the drawing will cover the line of the 
object which it represents. To do this hold up the Glass be- 
tween the eye and the object, as shown by Fig. 8, and move it 
back and forth until the width of the drawing covers the width 
of the object, and then if the height of the drawing covers the 



DRAWING SELF-TAUGHT 15 

height of the object the proportions are correct, and any failure 
of the lines of the drawing to cover those of the object shows 
the mistakes you have made. 

27. Size of the Drawing. — The larger the drawing on the 
Glass the more surely you can discover your mistakes, but you 
can not make the drawing any larger than the apparent size 
of the object when measured at the full length of your arm, for 
you must hold the Glass in your hands to test the drawing. You 
should make the drawing as large as you possibly can and have 
it cover the object when held at arm's length. If you make 
your first sketch too large to do this, erase it entirely and make 
a smaller drawing, and do the same thing if slight corrections 
are needed. You will be tempted to erase only the incorrect 
part, but you should not do this, for your effort is not to secure 
quickly a sketch that will cover the object, but rather to train 
your eyes to see truly. Most students make the mistake of 
holding up the Glass to look through the drawing, without pre- 
vious effort to correct the sketch by eye alone. This is a serious 
mistake which will make it difficult to work on paper. 

28. To draw well on paper you must train your eyes by dis- 
carding all methods which substitute tracing, measuring or any 
mechanical way of obtaining quickly a drawing on the Glass 
that merely covers the object. Every drawing on the Glass that 
does not involve visual and mental training in seeing relations 
fails to give the education that finally develops power to see 
more exactly than you can measure. 

When you test the sketch on the Glass be sure to have the 
bubble in the spirit-level visible in the center of the opening 
and the Glass held just at right angles to the line of sight from 
your eye to the object. This means that the Glass will be held 
inclined, except when the object is on the level of your eye, or 
extends both below and above this level. 

29. Objects to Draw on the Glass. — The Glass is to train you 
to see action, proportion and perspective effects, therefore you 
should avoid not only small objects, but also large ones that are 
too distant or have fine detail; for the crayon will not hold a 
sharp point. Even if it would, you could not test details, there- 
fore postpone such study until you work on paper, and draw 
simple forms on the Glass at the start, and as long thereafter as 
is necessary to enable you to see the essential angles and 
proportions quickly and truly. 

Small drawings can not be tested accurately, therefore your 
model should be near enough or large enough for the sketch 
on the Glass to nearly or quite cover the Glass. Small 
objects should almost touch the Glass when the test is made, 



16 DRAWING AND PAINTING SELF-TAUGHT 

and objects less than two or three inches long should not be 
drawn. 

The objects to study must vary with the age of the pupil. 
Young students may wish to begin with the graded lessons given 
in Chapter IX. Older students may draw whatever interests 
them as long as the subject is not too small, or too far away, or 
too complex in form. 

30. Distance of Objects. — The small object must be near 
the student and the large one far enough away for the drawing to 
nearly cover the Glass when it is held at arm's length. The near- 
ness of the model when it is on a desk or table at which you sit, as 
in Fig. 7, is an advantage, for you are not trying at first to 
produce pleasing pictures but to train your eyes to see truly, 
and the violent perspective of objects near you enables you to 
discover and correct your mistakes more quickly than you 
could if the objects were farther away. Pupils too young to use 
the Glass when the objects are distant may use it without diffi- 
culty when the object nearly touches the Glass. 

When your eyes see truly, more pleasing perspective may be 
obtained by placing objects near you on a box, or a pile of books, 
to render the perspective less violent. 

31. White Crayons for Evening Use. — The mark of a white 
or bright colored "China Marking" crayon against a dark card- 
board is easier to see by artificial light than that of a black 
crayon above a white card, and you may use any colored crayon 
and cardboard that you wish. 

32. We See in a Sphere. — Fig. 8 shows how the Glass 
must incline backward to test the drawing, when the object is 
below the eye. It must incline forward, in the opposite direc- 
tion, when the object is above the eye, and it must be held verti- 
cal when an object is on the eye level. Thus you discover that 
what you see is measured on a spherical surface and therefore 
can not be truly laid flat or drawn on a plane surface. This is 
the reason for the perspective distortion in Fig. 6 and in the 
corners of any picture that includes large visual angles. You 
should never draw any object when so near it that the visual 
angles produced are larger than 30°. This means if you make 
a full length portrait of a person five feet tall you should stand 
at least ten feet away from him. The artist who has to represent 
a subject which causes large visual angles should be influenced 
by his vision and feeling, more than by science; yet he must 
represent straight lines in nature by straight lines in his drawing, 
and therefore he must apply perspective theory to such a prob- 
lem. This means that he must not represent vertical lines by 
lines that converge, even when the Glass proves that they appear 



DRA WING SELF-TA UGHT 1 7 

to do this. For the same reason the artist should seldom repre- 
sent long horizontal lines in nature by the curves which he will 
draw when working by sight and representing each different 
part of the long line by the angle which it appears to make with 
the horizon. 

The Glass is to train the eye to see the appearance of single 
objects that do not cause wide visual angles, but it may also 
be used to give a practical knowledge of free-hand perspective 
relating to extended visual angles. Even this free-hand study 
of perspective, however, should not be begun until after the eye has 
been trained to draw single objects truly without the aid of theory. 

33. Holding Glass for Testing. — Before drawing any object 
learn to hold the Glass to test a drawing on it. Place a pin with 
a white head large enough to be visible when the pin is in the 
most distant part of the room, anywhere on floor or wall or any 
object in the room, and then indicate a point on the Glass by 
fine vertical and horizontal lines that intersect. Next, hold the 
Glass at arm's length with the spirit-level in the upper side of 
the frame. Hold a short edge of the frame in each hand, face 
the pin, and extend the arms equally, inclining the Glass so that 
it is exactly at right angles to a line from the eye to the pin. 
Then, having one eye closed, move the Glass so that the mark 
on the Glass will appear to cover the head of the pin. When 
this happens, look at the spirit-level, and if the bubble is not 
visible in the center of the sight, move one hand slowly up or 
down until the bubble remains in the center of the sight. See 
that the point on the Glass still covers the head of the pin. A 
small piece of paper may be placed upon a common pin for this test. 

34. Testing Angle of a Line. — When you can hold the Glass 
level so that a point on the Glass will cover the head of the pin 
in any position in the room, represent on the Glass any horizontal 
retreating line. Select any long line of the ceiling, wall, or 
the top of a door or window, but do not select a line that is not 
foreshortened. When you have drawn the line on the Glass, 
test its angle by holding the Glass at arm's length and at right 
angles to a line from your eye to the center of the line that you 
are representing. Hold the Glass so that the bubble is visible 
in the center of the level, and then move the Glass to see if the 
line on the Glass will appear to cover the line that you are study- 
ing. If it can not be made to do this you will realize the mistake 
in its angle; and should erase the line and try again, until you 
have the correct angle. 

35. Testing the Angle and the Length. — When able to see 
the angle correctly you should measure the length, in addition 
to the angle, by making the line on the Glass of such a length 



18 DRAWING AND PAINTING SELF-TAUGHT 

that each end of the line on the Glass will cover the correspond- 
ing end of the line that you are drawing. While testing keep 
the bubble in the center of the sight and the Glass at right angles 
to your line of vision. 

36. Foreshortened Circle. — The next step is to represent 
a foreshortened figure. The circle is the simplest for the first 
lesson. Select a child's rolling hoop or the top of a circular 
table and draw its appearance on the Glass without any measur- 
ing of proportions. Then hold the sketch at arm's length and 
compare it with the object, to see if you can not change the pro- 
portions by eye. When as perfect as you can see, slide out the 
card and raise the Glass, and move it back and forth between 
your eye and the circle until the width of the drawing covers 
the width of the circle. (See Fig. 8.) When this happens, if 
the height of the drawing does not cover the height of the circle 
your mistake in proportion is evident. In making this test you 
must level the Glass by the spirit-level, otherwise you may think 
an inclined ellipse will represent the horizontal circle. 

Repeat this exercise, placing the circle at different levels, 
below and above your eye and in various inclined positions. 

37. The Foreshortened Square. — Place a card 12 in. square 
flat upon the top of a square or rectangular table, and draw the 
card on the Glass until you are able to make a correct sketch. 
Then give yourself a systematic drill in judging angles by sitting 
in one position, from which you can look at the card in a direction 
oblique to the edge of the table and then draw the card in all 
possible positions in which it can be placed with reference to the 
edge of the table. If you made the first drawing from a posi- 
tion directly in front of the table, you will find the second posi- 
tion much more difficult, for the edge of the table appears hor- 
izontal when you are just in front of it, and inclined when you 
look at it obliquely, and you confuse this angle of the edge of 
the table with that of the side of the square. After you have 
made a- correct drawing of the square in its second position, 
mark its position on the table, with a fine chalk line, then draw 
another line at an angle of 15° with the first, and move the square 
up to this second chalk line. You can get the angle of 15° by 
trisecting one of 90° and then bisecting an angle of 30°. Cut 
an angle of 15° from cardboard to enable you to move the square 
five times more, and have the last move bring the square back 
into its original position. Draw the square in each of its six 
new positions without changing your own position. Repeat 
this exercise until you find it is impossible for your eye to be 
deceived by lines that are in front of, or behind those of the ob- 
ject you are drawing. 



DRAWING SELF-TAUGHT 



19 



38. Change Your Own Position. — Now try the same prob- 
lem of the square upon the table top. Place the card at an angle 
of 15° with the edge of the table and then draw the square from 
any position. When the sketch is correct, move yourself 15° in 
either direction around the table, but do not move the square. 
When the square is correctly drawn for the second time, move 
yourself 15° more in the same direction as before, and so continue 
to move around the table, and the square, until you have drawn 
the square from 24 different positions 15° apart in a circle around 
the square and table. This exercise and the preceding one will 
give you more power to see perspective effects truly than years 
of study by usual methods. 

39. The Square and Table. — When you can draw the square 
readily, you may repeat the last two exercises, drawing both the 
table and the square. There is no reason why you should not 
draw a cube or a box instead of the square card. These exercises 
should give you power to draw any object in two dimensions, 





X^pi^A/ 




3 3 

Fig. 9. — Blocking-in lines and tests. 



or any solid; for all objects are seen as if they had but two 
dimensions. When you can judge height, width, and angles 
correctly, you can draw anything. This drill from geometric 
forms makes your progress more rapid than it would be if you 
began with casts, or the life model, for you can not correct such 
drawings as closely or as quickly as those from geometric forms. 
40. Blocking-in the Solid. — When the subject is a cube or a 
box as in Fig. 9, you should not begin with any single edge, but 
with the mass of the whole, as if the box had only the two dimen- 
sions that can be represented by the silhouette of the box. Do 
not make the common mistake of drawing all the lines forming 



r 



i 






Fig. 10. — Examinations by the same student showing gain made in 

GO hours. 



DRAWING SELF-TAUGHT 21 

this silhouette, but substitute one long line for two or more short 
lines that break into the mass. Thus you avoid all concave 
breaks into the convex form that will result by connecting the 
outer corners of the object with the fewest possible lines that will 
enclose the drawing. You should always avoid all detail in the 
blocking-in lines, for detail should be studied last. 

All that you should do, by the blocking-in lines that give 
what is called the "primary mass," is to indicate the height and 
width of the drawing, and its position on the Glass. This you 
could do by two horizontal and two vertical lines, or even by four 
points, but it is better to indicate the longest lines that will 
enclose the mass of the silhouette, for their angles assist in deter- 
mining the proportions correctly. 

41. Study the Arrangement. — The blocking-in lines deter- 
mine not only the proportions of the drawing but its size and 
arrangement on the drawing tablet. These first trial lines should 
be as light as possible in order that you may change the size and 
position of the sketch without erasing, and may work upon the 
Glass exactly as you must later work upon paper. Drawings on 
paper will record all mistakes in the size of the drawing and its 
arrangement on the paper. You should, therefore, try to make 
the drawing on the Glass of such a size, and in the position which 
will produce the best possible composition. This will aid you 
in your later work on paper. 

When the "primary mass" is as correct as you can see when 
holding the sketch at arm's length and looking quickly from it 
to the object, test by looking through the Glass. If it does not 
prove true, erase the entire sketch and try again until the block- 
ing-in lines give the correct proportions. 

42. Proportion More Important than Detail. — Since the 
lines inside the silhouette do not determine proportion as quickly 
as the blocking-in lines, it is wise for you to make an extended 
series of sketches that go no further than the blocking-in lines, 
until you find yourself able to sketch these truly at first trial. 
If the desire to finish a picture is stronger than your wish to 
establish the solid foundation of real visual power, you may 
represent all visible edges. The Glass is a sure teacher, and even 
if you do not use it in the best pedagogical method, it will per- 
form its mission, and correct your vision, if you persevere in 
its use. Interest in your work is more important than the sub- 
ject that you study, and if your interest in any special subject 
impels you so strongly to draw it that you can not maintain 
your interest in the geometric subjects which I have advised at 
the start, by all means try the thing in which you are interested. 
Doing this will aid you to realize the greater value of the sub- 



Fig. 11. — Examinations by the same student show- 
ing gain made in 70 hours. 



DRAWING SELF-TAUGHT 23 

jects which I have advised, and you will go back to them with 
renewed interest. 

The educator emphasizes the necessity for studying objects 



■iM^H 





pi 






Fig. 12. — From drawing by Michael Angelo (1475-1564). 

in their proper order and drawing each by definite steps. The 
Drawing Glass simplifies this problem greatly, and most of what 
I must tell you in order that you may become draftsmen and 
painters through study in your own homes, relates simply to 
the proper use of the Glass, and to artistic methods of work on 
paper. The subject and details of steps, stages, and methods 
are unimportant. 

By this time you should be able to sketch so well on the Glass 
that work on paper is advisable. For a long time, however, 
after you begin to draw on paper you should take up the Glass 
often, and practice on it for a few minutes. A student recently 










CO t" 

CO g 

iO o 
CO 



o 
Ph 

Ph 

>> 

-O 



'/ 



\\ 



4&^% 




\ 



■■■UK' <&*s 

Fig. 14.— From sketch by Hans Holbein (1460-1524). 



26 DRAWING AND PAINTING SELF-TAUGHT 

told me that he found the Glass so helpful that in addition to 
the twenty hours of class-room drawing from the antique done 
in school each week, he found time for twenty hours of practice 
at home on the Glass. This spirit and enthusiasm will bring 
success to those whose work must be done wholly at home. 

43. Sketching on Paper. — We see edges and represent them 
by lines and so naturally we draw, erase, and correct lines one 
at a time, but until the last is drawn we can not see the propor- 
tions of the drawing. The fatal mistake of elementary instruc- 
tion is in permitting this false method to continue. Correct 
bulk and action will never result from the customary study of 
details at the start. 

44. The Masters' Methods. — Study the photographs of the 
old masters' sketches, Figs. 1, 12, 13, 14 and 15, and see how 
they began with faint suggestions of the masses, and made cor- 
rections without erasing by drawing stronger lines that neglected 
details, and expressed action and proportion. If you would 
succeed you must adopt this method and cease to draw detail 
until you have first found the place for it, by the blocking-in 
lines that are essential to true proportion. 

45. Discard the Eraser. — Do not use the eraser at all for 
months, but see how many changes in mass and action you can 
make in a few moments, by ceasing to draw slowly with finger 
motion only. Instead, sketch freely and joyously from your 
shoulder without moving the fingers at all. 

46. Sketch Instead of Draw. — The beginner wastes years 
before he finds out that he should sketch before he draws, and 
that he should find the place for the final drawing by making 
many sketches straight from the shoulder, one on top of the 
other, each a little stronger than the preceding and a little truer 
in proportions. See Figs. 1, 12 and 13. 

47. Get Away from Your Sketch. — The beginner conscien- 
tiously bends over his drawing that he may see each touch as 
it is produced. After a few years thus wasted he discovers that 
he can see the action, proportion, and effect, only when he is 
far away from his work. Keep at least at arm's length from the 
drawing and give yourself a chance to sketch from the shoulder. 
It is said that Whistler used to paint with brushes whose handles 
were six feet long. Every artist studies the effect of both sub- 
ject and picture from the greatest distance possible in his studio 
and often doubles this distance by use of a large mirror. 

48. Paper. — The paper for the practice sketches may be of 
the cheapest kind on which a pencil will mark without tearing 
its surface. Cheap copy paper costing by the ream about one 
cent for five or ten sheets 8}^ x 11 inches will answer for the 




Fig. 15.— From sketch by Raphael (1483-1520). 



28 DRAWING AND PAINTING SELF-TAUGHT 

hundreds of sketches you should make in from one to five or ten 
minutes each. Later work may be upon cheap white drawing 
paper such as is used in the public schools. This should be 12 x 18 
inches, and fastened upon a board of the same size by a thumb 
tack in each corner. 

49. Pencils. — Provide the six soft pencils B, up to and in- 
cluding 6 B, also the medium grades H, B and F; and the hard 
pencils H, 2H, and 4 H. You will need this variety when you 
begin to make pencil paintings of light and shade and color values. 
For outline only you will not need so many soft pencils. 

Avoid using a short pencil unless you place it in a crayon holder. 

Hold the pencil as if it were a stick of charcoal with its un- 
sharpened end at the center of the palm of the hand, as shown by 
Fig. 16. 




Fig. 16. — From photograph. 

When sketching use a pencil that is hard enough to enable you 
to obtain the correct result without any use of the eraser. When 
you erase from the start you prove your ignorance, and you fail 
to get the best training or the best results. 

A hard pencil may be used lightly enough to make all needed 
corrections without indenting the paper or getting it so black 
that you must erase in order to continue. When this condition 
does arise do not use the eraser, but start anew on a clean piece 
of paper, and avoid this condition in future by using a harder 
pencil or less pressure on the paper. 

As your vision improves you can use softer pencils, and you 
should always use the softest ones that enable you to get results 
without use of the eraser. The hard pencil, except in the pre- 
liminary sketching, produces a sharp mechanical line and effect 
which is not pleasing in a free-hand drawing. 

50. Free Arm Movements. — Before drawing objects on paper, 
overcome the slow mechanical method of drawing with motion 
of the fingers, by frequent free-arm sketching of straight and 
curved lines, using the entire arm and moving the shoulder joint 
only. 



DRAWING SELF-TAUGHT 



29 



In this practice and also when drawing objects, do not take the 
pencil point off the paper, but cause it to make a faint mark in 
all its movements back and forth along all the lines of all the 
objects. 

Practice first on the horizontal line and see how close to the 
first line you can place the others. Sweep the pencil rapidly 
back and forth across the paper many times until you have a 
series of lines producing a band a quarter of an inch or more in 
width. See Fig. 17. In the same way practice the vertical move- 
ment, and then the oblique in various directions. Then try the 
circle, and both wide and narrow ellipses. 

Repeat these exercises daily until you can sketch a straight 




Fig. 17. — Free arm movements. 



line or an ellipse in one instant, and with one touch. Do not 
imagine, however, that you must postpone drawing objects 
until you have gained this facility, for these exercises may be 
repeated once in a while with interest and profit years after you 
have begun to produce and exhibit pictures. 

A French artist once said that you should be able to sketch a 
man falling from a building while he is in the air. Spoken before 
the advent of skyscrapers, this expresses the spirit that should 
direct your efforts, and you must try to develop speed that en- 
ables you to sketch lines in less than one second. 

51. Many Lines Desirable. — It is useless to expect correct 
results or details at the start. In beginning give up the idea 
that you are drawing and simply try to locate the place where 
later you are going to draw. Many trial lines are desirable, not 



30 DRAWING AND PAINTING SELF-TAUGHT 

only because they permit repeated efforts to give correct results, 
but because they enable you to experiment freely, and finally to 
take your choice of the best line among many. You are free to 
experiment by accenting first one and then another of these 
trial lines, and you may finally strengthen and retain one of the 
earliest touches. Until you adopt this method and refuse to be 
satisfied with one clean sharp line for each edge, you have not 
taken the first necessary step in the training of the artist. 

Do not multiply lines without thought or observation, but 
make as many changes as possible by means of tests applied 
visually that cause you to think horizontal, vertical, and oblique 
lines through every point and mentally continue every straight 
line to intersect other lines. Gradually select and strengthen 
the best lines. If, in spite of the use of a hard pencil, you get so 
many lines that you can not make the needed changes without 
erasing, throw the sketch aside and start one that can be perfected 
in proportions without the eraser. Inability to sketch without 




Fig. 18. — From photograph. 

use of the eraser proves that desire to tell the exact truth all the 
time, which distinguishes the mind of the scientist from that of 
the artist. The artist must neglect the details at the start if 
he is properly to relate them to the whole. 

52. Position of the Drawing. — The drawing block or board 
should be supported on an easel or a chair at right angles to a 
line from your eye to the center of the paper. The drawing 
board may be supported on the lap by use of a lap easel that is 



DRAWING SELF-TAUGHT 31 

clamped to the top of the board and extends to the floor to hold 
the board from falling. See Fig 18. If you have not an easel 
or chair to use in its place, hold the drawing board in the left 
hand as far as possible from the eye. 

53. Objects to Draw on Paper. — The subject is not as im- 
portant as the method by which you study it, but if there is a 
choice it favors the use of geometric forms in beginning, for these 
are not only always at hand but they make the best method of 
drawing easier to grasp than the forms of vegetable and animal 
life. Therefore I advise the same forms as those which you have 
studied on the Glass and for the first problem the box of Fig. 9. 

54. Sketching a Box. — Sketch first the primary mass, see 
Section 40. When the sketch seems perfect in its proportions 
test it by use of a thread and the Glass. Hold the thread tightly 
stretched across the Glass between the hands. Hold the Glass 
so that the bubble remains in the center of the spirit-level, and 
then move the thread about on the Glass until it forms a straight 
line covering points 1 and 10 of the box. Having thus measured 
the angle of the diagonal 1-10 hold the thread firmly in this 
direction upon the Glass and place the Glass flat upon the draw- 
ing so that the sides of the frame are parallel to the edges of the 
paper, and the thread covers point 1 of the drawing. If the thread 
also covers 10, then these points are correctly placed. Next 
measure in the same way the angle of the diagonal passing through 
the lower right-hand corner 5 of the box and the upper left-hand 
corner 9 of the cover. 

These tests will determine the proportions without the waste 
of time due to placing detail in the wrong place. Therefore it is 
better not to finish the first sketches by the lines within the 
contours, but to sketch simply the primary mass until you can 
do this readily and accurately, and only then to represent the 
lines inside the contour. When you have done this as perfectly 
as possible by eye alone, test the drawing by taking a horizontal 
line with the aid of the spirit-level and a thread held horizontal 
on the Glass to cover point 1 to note the position of the point 11 
in the front edge of the box where the thread through 1 cuts it. 
Then take a level line through the right-hand corner 5 to obtain 
the position of 12 in which the thread cuts the front edge. In 
the same way pass horizontal lines through the other corners 
of the box to determine their levels. Then with a plumb-line 
made of a thread tied to a lead button, take a vertical line through 
9 to see its position between 3-4 and 5-6. Take another vertical 
through 7-8. As a last test hold a thread taut in both hands be- 
tween the eye and the box so that it covers the edge 4^6, and then 
notice where the thread intersects edge 1-3 in 14. In the same 



32 DRAWING AND PAINTING SELF-TAUGHT 

way, continue 2-4 to intersect in 13. Then continue the inclined 
edges 7-9 and 6-10 to note their intersections 15 and 16 with the 
lower lines of the box. In this way continue the other lines of 
the box, and if they intersect in the drawing as the thread appears 
to intersect the box, you may be sure the sketch is correct. Make 
all changes indicated by this use of the thread without any use 




of the eraser, and continue to draw single objects until the tests 
prove that you can draw them correctly by eye. 

55. Sketching a Group. — Arrange several boxes in a group 
similar to Fig. 19 and when you have sketched the primary mass 
draw within it the primary mass of each box, thus representing 
the "secondary" masses. Fig. 20. Before going further, it is 
wise to use the spirit-level and a horizontal thread on the Glass 
to find the levels of points 1 and 9, and 3 and 7. Make corrections 
without use of the eraser and then sketch the inner edges of each 
box. 

56. Draw the Objects at the Same Time. — Draw the longest 
lines of all the boxes first, and the shortest, last. Do not allow 
one object to become more advanced than the others. Do not 
look only at the object or line you are drawing but at those around 
it, for as long as you look at one line or one object, you will not 
represent it in the right place or of the right proportion. 

After you have blocked in the mass of the entire group and 
then within it the mass of each object, thus obtaining the secon- 
dary mass, Fig. 20, draw next the longest lines that are easiest to 
see and relate, and then the lines of intermediate length without 
regard to the object they define. Never finish one object until 
the others are nearly as far along. Think of all the objects as 



DRA WING SELF-TA UGHT 33 

parts of the same object, neglecting the shortest lines of all the 
objects until all the long lines are drawn. Fig. 21. 

Shift and twist and change without any erasing until your 
eye can do no more. Then take the Glass and a thread and pass 
a horizontal line through every corner of every box to note the 
levels of these points. Change as soon as the test shows an error. 



Fig. 20. — Secondary masses. Fig. 21. — Testing sketch. 

Then with the plumb-line pass a vertical line through every 
corner, and change as fast as these tests discover mistakes. 
Finally, continue every long line of every object to see where 
each line intersects the other lines. Do this by holding only the 
thread taut between the two hands and in front of you as if it 
were resting on the Glass held for testing,, and then revolve the 
hands until the thread covers any line, as 7-14, and cuts the 
contour near 18. See if the drawing agrees by placing the thread 
flat on the drawing to cover 7 and 14. If it does not intersect in 
the proper point near 18 the sketch must be changed until it does. 

It is impossible for an error to remain undetected if all these 
tests are applied, and you must use them all until they train you 
to think horizontal, vertical, and oblique lines, through every 
point as you sketch, and also to think the lines continued to 
intersect others. When you think these tests you will draw so 
truly that the use of the thread and level for corrections will dis- 
cover no mistakes, and soon you will find your eyes are more 
exact than the tests which you will no longer need. 

57. True Levels Important. — A sketch whose proportions 
are correct will look incorrect if its levels are wrong. The artist 
fails on levels, that is, on perspective angles, more than on any 
other subject. You should take special pains when testing levels, 



34 DRAWING AND PAINTING SELF-TAUGHT 

and never trust to holding a pencil or ruler by your eye. The 
spirit-level is the only sure test for angles. The best way to use 
it is to make cuts in the opposite sides of the frame that will 
hold a thread exactly parallel with the top edge of the frame and 
about two inches below it. Make the cuts deep enough with a 
sharp knife so that they will retain the thread, and when you use 
it face the object and stretch the arms out equally and be sure 
the bubble remains in the center of the sight. Do not try to use 
the level to test the drawing, but place the thread alone flat on 
the drawing and adjust it by eye so that it is parallel with the 
edge of the paper. 

58. Still Life Best for Beginner. — No subject will give true 
eyes for perspective as quickly as these boxes, and you should 
continue to draw them until you can sketch a half dozen of differ- 
ent sizes and proportions in five minutes so correctly that the 
tests will discover no mistakes. Use small paper boxes on a 
table part of the time, and larger wooden boxes on the floor in 
later work. 

59. Honest Training in Place of Dishonest Pictures. — Until 
elementary drawing means vision training instead of picture 
making, it will require courage to make sketches while you know 
other students are making finished pictures. If you are able to 
carry out these directions you will some time be as grateful for 
them as are my personal students, who often tell me that this 
study from the boxes helped them more than any other work in 
their entire course and finally enabled them to draw the figure 
better than students who had spent all their time on the antique 
and life. See p. viii. and Figs. 4 and 5. 

60. Draw the Background Instead of the Object. — When 
you can draw the boxes, study a chair by sketching first the 
blocking-in lines, and next the background spaces composed of 
the bits of floor or wall seen between and through the rounds, 
legs, and other parts of the chair. In other words, draw the 
holes instead of the parts that bound these holes. See Fig. 22. 

This is the best of all tests because it can be applied without 
thread, level or Glass, far more exactly than you can see the 
solids. You know the solids and this prevents you from seeing 
their appearance. The background spaces or holes have no real 
existence or form for you to know, and so you can believe your 
eyes about their appearance long before your eyes are true for 
the solid. Students who adopt this method soon excel those 
who continue to draw the legs and rounds. 

61. Accenting the Sketch. — You should now finish a drawing 
occasionally in outline or values, as desired. If in outline, erase 
the trial touches and accent the final lines with one stroke of a 



Drawings by the 
Same Freshman. 



Entrance 

Examination 

September 28. 

Faulty in 

Proportion and 

Perspective. 



Examination 

November 30. 

Better Proportions 

and 

Perspective. 



Shows artist's way 
of sketching back- 
ground spaces in- 
stead of the solid 
parts. 



fi 






j? Zoo . (£ hrs. Nov, 3 

Fig. 22. — Drawing the holes instead of the objects. 



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Fig. 23. — Freshman sketches showing blocking-in lines. 



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38 DRAWING AND PAINTING SELF-TAUGHT 

soft pencil which produces a soft gray line, except where you 
need a few accents of black. 

In accenting hold the pencil as you desire, and move it from the 
fingers, wrist, elbow, or shoulder. Accent the object forms and 
their construction, and be sure not to accent the background 
forms that aided in the drawing. These forms are too pronounced 
in Fig. 22 because the sketch was barely started. 

There is no rule for accenting except to make the sketch effec- 
tive in presenting the important objects, their relations and 
construction by the greatest possible variety in the strength and 
the width of the lines employed. You must use your judgment, 
for any rule will produce mechanical results. You should omit 
all unimportant details and bring out the nearest and most 
important parts with the heaviest lines. Do not think this means 
any regular gradation from front to back, for such would be 
fatal to an artistic effect. 

62. Interiors and Street Scenes. — When you can draw groups 
of furniture represent the room, and then draw everything that 
interests you, in-doors and out-doors. You will find that a little 
practice will enable you to draw human and animal forms from 
the cast or from life as well as you draw the geometric forms. 
This proves the wisdom of beginning with the geometric forms, 
for many artists who draw the figure well fail in subjects that are 
geometric. 

63. Use a Sketch-Book. — Carry a sketch-book with you all 
the time for use in minutes that would otherwise be lost. Use 
this book from the beginning of your study, and do not think 
that you must master each problem in the order that I have 
given it before you try any other subject. Every subject trains 
the vision when it is rightly studied, and so you may draw in 
your sketch-book anything that interests you, including casts, 
figures, animals, and memory drawings, as well as any nature 
study. 

64. Make Color Sketches. — Do not try to master drawing 
before you begin to paint simple subjects, but work in color 
often enough to prove that you need to draw most of the time 
until the drawing does not trouble you when you paint. 

65. Detail Important. — When you can represent mass and 
action, you must begin to study detail as if it were most important. 
You should study reproductions of paintings by Meissonier, 
Charles Bargue or any good miniature painter to see how it is 
possible to keep the strength and breadth of the masses and still 
represent all essential detail. 

66. Figure Drawing. — Do not think your training is over 
when you can draw still life and geometric subjects easily, for 



DRAWING SELF-TAUGHT 39 

this is the simplest of your problems and given first in order to 
prepare you quickly to draw the figure well. The figure you 
should sketch as you have the boxes, beginning with the blocking- 
in lines of the whole and then giving those of the smaller masses. 
See Figs. 1, 12, 13, 14, 15. 

67. Avoid Fads. — Do not be misled by exhibitions which 
often present brutal or freak results, for this work will be for- 
gotten in a few years, while if you can learn to draw, model, color, 
and express character and sentiment, your work may in time 
hang in the galleries with that of the masters of the past who 
have been inspired by love of truth and beauty. 

68. Art School the Beginning. — If it is not your pleasure and 
recreation to draw and paint, probably you would better choose 
some other vocation. If your work is not a joy to you it can never 
give joy to others. The best is always done for the joy of creat- 
ing and for no other reward. 

I do not mean that you should not find time for recreation, 
sport, or social life, for you must take your thought from art 
often enough to rest your eyes and refresh your mind. I do mean 
that you must make your art study your chief thought and in- 
terest in life, and that you must give your whole heart and soul 
to it while you are engaged in studio practice or in study. 



Examination by first-year student. 



Chapter III. 
PAINTING SELF-TAUGHT. 

69. Color Perception Rare. — We are born color blind, and 
very few ever overcome this defect. All the painters in the world 
were blind to out-door effects until the early part of the nine- 
teenth century when Constable and a few other English painters 
broke away from the false traditions of all earlier painters of 
landscape, and began to represent the light and color of landscape 
effects. Turner was said to have lost his sense of color, or his 
mind, or both, when he began to use color instead of the browns 
of all early landscapes. 

70. This failure to see truly is due to the fact that the student 
has had no science to aid him to true vision, and has thus de- 
pended on his teacher's eyes or methods. If the artists of the 
past saw the light and color in landscapes, they were either afraid 
to believe, or afraid to paint what they saw, and so the false 
conventions of their teachers were continued. Today, for the 
first time, we have a test that will make color appearances visible 
to a child, and enable the art student to discover his mistakes in 
values and color, even more readily than he finds errors in draw- 
ing by the aid of a spirit-level. 

71. Sir Joshua Reynolds explained how to see color in the 
following paragraph from Discourse XI. "Excellence will never 
be acquired by an artist unless he has the habit of looking upon 
objects at large and observing the effect which they have on the 
eye when it is dilated and employed upon the whole, without 
seeing any of the parts distinctly." 

This clear statement has not been understood by artists or 
students, and so the most talented have often had to struggle 
for twenty years to realize the great difference between the actual 
colors of objects and their apparent colors when influenced by 
light and shade, contrast, reflections, and distance. Chapter II 
of "Color Study" by the author explains these color changes, 
and shows that the eye sees the actual local color less often than 
it sees the actual form of any object. This happens because the 
apparent form is always the same as the actual form unless there 
is foreshortening, and a circle will appear a circle even if a mile 
distant, unless seen obliquely. To see the actual color, however, 
it must be very near the eye, and not influenced by light and 



PAINTING SELF-TAUGHT 41 

shade, contrasting colors, or reflected lights from other objects. 
This makes it practically impossible ever to see such a thing as 
local color, for all color appearances are in the eye of the observer, 
and continually changing. 

72. The Blur Glass. — An aid to the vision described by Rey- 
nolds is the most important problem for the teacher or student. 
Thirty years ago I found that a magnifying glass that would 
blur away details and show simply the big masses, was a great 
aid to students who could learn to look at the image on the lens 
instead of through the lens. Many students could not do this, 
and looking through the lens they strained their eyes and still 
saw the detail, which the lens was intended to take out, and the 
actual colors instead of the apparent colors. To enable all stu- 
dents to see apparent colors and not to exaggerate detail is a 
problem only recently solved by the use of two blur glasses. 

73. The Painting Lenses. — These consist of two magnifying 
glasses mounted side by side in the lower piece of the frame of 
the "Drawing Glass," or in a special adjustable frame for artists' 
use. 

Drawing or painting from a copy is so easy that almost any 
one can copy with but little training, and copy very well, even 
when not able to work at all from nature. This is because the 
comparison in copying is between the copy and the original 
which are both on flat surfaces and beside each other, while in 
painting from nature the comparison must be between the two 
dimensions of the drawing and the three dimensions of nature. 
The most talented student can not reduce the solidity of nature 
to its appearance on a picture plane without many long years of 
study, while by usual methods the average student never does it. 

The painting lenses enable the beginner to see with the master's 
vision as soon as he succeeds in looking at the lenses or rather 
between them instead of through them. By closing one eye and 
looking between the two lenses, it is easy to observe the images 
on the lenses as if they were pictures painted on the glass. 

The lenses are used by holding them up between the eye and 
the object so that the object may be seen in one lens while the 
drawing or painting is seen in the other lens. The painting must 
be placed a few feet away from the object. You must close one 
eye and with the other see both lenses equally in the same glance. 
You must forget that one reflects the subject and the other your 
picture, and see simply two equally blurred pictures side by side, 
and on the lenses instead of behind them. Thus you may gain 
in one lesson the blurred all-over vision that Reynolds described, 
and see better than many artists ever do. This may appear a 
strong statement, but that you may realize what the right use of 




Brush drawings by the same student. The upper made 
April 7, before use of Painting Glass. 




Fig. 25. — Matle April 11, aided by Painting Glass. 



PAINTING SELF-TAUGHT 43 

the lenses will mean to you, I will tell you that in a public lec- 
ture recently given at the Art Museum, the lecturer, a noted 
artist, said that one lesson with the aid of the Glass would give 
knowledge that could not be gained in years of study without 
this aid. Another artist said to me recently that many well 
known artists were using the Painting Lenses, so you need not 
hesitate to use the method that has been approved by the best 
painters. 

74. It seems a simple matter to use the lenses as described 
above, but even after personal explanations and after reading 
the directions on the back of the Glass which tell how one eye 
must be closed all the time, and the other used, not alternately 
on one lens and then on the other, but equally on or rather be- 
tween both, I have known adults to use the lenses for many 
months before they gained the proper blurred vision of one eye 
that sees the blurred pictures on the lenses instead of the draw- 
ing and the subject behind the lenses. Therefore, I will repeat 
these directions at greater length, and say that if you will follow 
them exactly there will come a moment in which you will suddenly 
be born again visually, and see color appearances truly, instead 
of the local colors that you know and believe you ought to see. 
This new vision will transform your work from the hard, literal 
rendering of the facts you know to be before you, to the vision of 
the masters who have painted the beauty of light, color, and 
atmosphere. 

True vision is not a question of years of study so much as of 
inspiration that is often instantaneously effective in transforming 
the vision permanently, so that after this inspired moment 
there may be little need for the lenses. It is possible that Art 
School students may not need to use the lenses often when they 
enter Art Schools having been prepared to draw in the Grammar 
School by use of the Drawing Glass, and to paint in the High School 
by use of the Painting Glass. Still many of the best painters find 
the lenses helpful, and so they may be to you occasionally through 
life. 

75. Use of Lenses in Painting. — Arrange a group of still life 
so that the light falls on it from a north window and comes from 
over your left shoulder in such a direction that when you place 
your painting a few feet to the right or left of the group, it will 
have as strong a light upon it as falls on the group. 

Whatever the medium you use you should try to get the entire 
canvas covered as quickly as possible so that it will present the 
same masses of light and shade or color as the subject. Therefore, 
before beginning to paint, you should study the effect by looking 
at the subject through one lens, moving the lens back and forth 



44 DRAWING AND PAINTING SELF-TAUGHT 

until the subject fills the entire lens. Then you should stop 
looking through it and look at it, or rather in front of it, and study 
the blurred colors seen, or rather felt upon the lens, until you are 
sure of their colors and values. 

It is better for you to use the lens than to partly close your 
eyes, for doing this shuts out the light and the color, while the 
lens will show you so much color that you can hardly believe it 
the true color needed in your picture. When you have gained a 
strong impression of the colors and the effect, so that you can lay 
in the effect from memory, cover the entire canvas with color to 
all the outer edges. Do this as quickly and strongly as possible, 
and when the canvas is fully covered and you can not improve 
the effect, place it far enough to the right or to the left of the 
group for you to see the group through one lens and the painting 
through the other lens. Then having closed one eye; use the 
other to see both lenses equally with a blurred vision that is 
directed midway between both lenses. Do not move either the 
lenses or the eye in order to compare the blurred pictures of the 
drawing and the subjects. 

76. Look Between Not Through the Lenses. — When you 
have thus varied the distance of the painting from the subject, 
and the distance of the lenses from the eye until you can see the 
painting through one lens and the subject through the other, you 
must stop looking through the lenses and look between them so as 
to observe them equally at the same time with one eye. The 
lenses blur the detail, and the effort to see the lenses without 
moving the eye from one to the other blurs the images still more, 
and takes out all except the masses of light, dark, and color that 
are important in the effect. 

When you look between the lenses you can forget the drawing 
and the subject behind the lenses, and see their effect on the 
picture-plane of the lenses. This vision enables you instantly to 
see if your painting blurs differently from the subject; if it does, 
you realize what you must do to make the painting blur like the 
subject, before you begin to put in the detail. 

77. This vision does not strain the eyes, for it is not the trying 
effort to see detail but the unlabored vision with which you might 
see a landscape if nearly asleep, and not looking at any object 
but barely aware of the lights of the sky and foreground, and 
the dark of the shadowed forest. 

Possibly this idea of seeing when nearly asleep will help you to 
get the right idea of the all-over vision that is needed to paint 
well. The eye is an exact automatic and scientific machine 
which adjusts itself quickly to see sharply a minute part of the 
object before it. All points except that on which it is focussed 




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46 DRAWING AND PAINTING SELF-TAUGHT 

are seen in the blurred way that is essential for the artist. There- 
fore you must not look at the detail you want to paint, and you 
must not look at the lens but in front of it, or if two lenses are 
used, you must look between them. In other words, you must 
not see either the group behind the lens or its image on the lens, 
but must feel or be aware of a blurred image that may be in front 
of or on the lens, but never behind the lens or on the object. 

This comparison of the effect of the subject and the painting 
is the most important service given by the Painting Lenses, for it 
teaches you to see simply, to subordinate details, and to see on 
your picture-plane instead of on the objects. The Glass is also 
useful for the study of details, and especially for the color of 
glitter lights as follows. 

78. Mass and Detail Both Necessary. — Do not think that 
you are to leave your picture in the blurred way in which you see 
nature through the lenses, for you must give careful drawing of 
all action and construction, and especially of the sharp beginnings 
of the cast shadows which are lost by the lenses. You must give 
the effect seen by the use of the lenses, and also the important 
detail which you see when you look for it without the use of the 
lenses. Your finished picture with all needed detail will, however, 
lose detail when seen through the lens just as the other lens blurs 
away the detail in the subject. 

79. Color of Glitter Light. — This light is generally made too 
bright and white. To realize that it has much color in it, hold 
one lens so that the glitter light is magnified to fill or nearly fill 
the lens. You may need to get near the object for this to happen, 
and thus show you the strong color which the high light appears 
to have. It may help you to see color in the high light if you 
realize that this light is a reflection of the source of the light, and 
would be the color of this source but for the local colors of the 
object and others around it. Thus the glitter light on a red apple 
is often quite blue, and it is always a different hue from that of 
the adjacent parts. 

80. Mass of Shadow. — You can determine the form of the 
dividing line of light and shade that separates the light mass 
from the shadow mass on any object by getting near enough to 
cause this object to blur and fill one lens. Then you will not 
only realize the light and dark, but the colors of these masses, 
one being warm and the other cola 1 . 

81. Object and Background Relations. — Hold one lens near 
enough to the group to cause half the lens to reflect any object 
and the other half to reflect the background, and then look at 
the lens and you will see which is tho darker and which is the 
warmer. 



PAINTING SELF-TAUGHT 47 

Any two objects, values, or colors may be thus compared by 
making both fill the whole of one lens if the two are adjacent, 
or if they are removed in the group by getting one to fill one lens 
and the other to fill the other lens. To do this you may get as 
near to the group as may be necessary, but do not look at it from 
a new angle. 

82. Color Easier than Drawing. — Thus used the lenses make 
color perception easier than drawing, and so encourage you to 
gain the ability to draw which must underlie real success in 
painting. 

Most art students desire to paint, and the long years of study 
of drawing generally necessary become a trial. I have found 
that the lenses encourage students to keep on with their drawing, 
for I now give my first-year art school students instruction in 
both drawing and painting from the start. Use of the lenses for 
a short time proves that they can paint so much better than they 
can draw that they prefer to give up color study and concentrate 
on drawing. 

83. Color Changes. — Correct values or relations of the lights 
and darks of a picture are important, but of greater importance 
are the changes which are made in color by light and shade and 
contrast effects. The student expects to paint a red apple with 
different tones of the same red pigment, and a blue vase with 
light and dark tones of the same blue pigment, but after study of 
objects of various colors by the use of the lenses it will be seen 
that the color changes from warm to cold, or from cold to warm, 
as often as the light and shade changes, and that it is impossible 
to represent an object of any color by use of different tones of 
one pigment. 

Every change from light to shadow which is easy for you to see 
means also a change in hue which is not so easy to see, but faith- 
ful use of the lenses will discover the rule that if the light side of 
any object is warm the shadow side will appear cold, and if the light 
side is cold the shadow side will be warm. It is evident that the 
strongest effect of local color will not be seen in either the strong- 
est light or the deepest shadow, but between the two, and near 
the dividing line of light and shade. 

It is impossible to produce a vital effect without conforming to 
this law of contrast between the masses. Understanding the 
law will aid you to see the changes from warm to cold which 
appear on objects that are of one unvaried local color. 

84. You must use your judgment in your use of the lens to 
determine the effect of the first painting, for you can not follow 
the lens exactly if a detail, such as a painted design, comes in 
either the mass of the light or the shadow. This detail will not 



PAINTING SELF-TAUGHT 49 

be seen through the lens as design but will change the color and 
value of the mass in which it comes. An effect of this nature 
should not be represented in the first painting, for the design must 
be put in later in its definite form. This can not be done if you have 
already represented its value in a blurred form over the surface. 

85. Then there are accidental effects of complementary 
colors apparent when the lenses are used too long to study bright 
colors. These arise in the same way as the purple images in the 
sky after you have looked at the setting sun, and they should not 
be represented. 

86. Other Aids to Vision. — Two small holes may be made in 
a card, or the fingers of each hand may form openings to isolate 
any two values or colors that are not too near each other to be 
thus compared. The finder, used by artists to study the com- 
position, will also aid in the matter of values and colcr. Instead 
of one finder it is better to prepare two of the same size and to 
cover one side of each with the whitest cardboard, and the other 
side with the blackest velvet. When your subject is light look 
at it through the white side, and you will see that there is no 
white in the effect, for the white cardboard near the eye and in 
full light almost invariably appears much lighter than any light 
in the subject. When the subject is dark, look at it through the 
black velvet side and shade the finder with the hand so that the 
black in shadow may help you to realize that the darks in the 
subject are not really black but have much color in them. To 
use these finders arrange the painting so that it may be seen 
through one finder while the subject is seen through the other. 
Use only one eye and look between the finders instead of through 
them one at a time. 

87. Frame Around Subject. — Artists often place a frame 
about their subject, and sometimes a similar one about the paint- 
ing. Sometimes the frame around the subject is divided into 
equal squares by horizontal and vertical threads. If you have 
followed the directions of Chap. II. carefully you will probably 
not need the squares to help in drawing. The frames may, how- 
ever, aid you to see effects and masses in the same way that the 
lenses do. 

Fig. 28 represents a group of still life and a painting of this 
group when placed beside the group for comparison. You must 
not conclude that the marked differences between the two are 
entirely due to mistakes in the painting, for the common photo- 
graph often distorts values and color relations even more than 
it distorts the perspective in Fig. 6. For tests of values and color 
you must rely upon the use of the lenses, as a photograph will 
seldom give either light and shade or color values truly. 



50 



DRAWING AND PAINTING SELF-TAUGHT 



88. Red, Yellow, and Blue Pigments. — Red, yellow, and blue 
were once considered the primary colors because from pigments 
of these colors all the other colors could be obtained by mixture. 
By mixing colored lights instead of pigments, the true primary 




Fig. 28. — From photograph of painting placed on easel beside the subject, 
frame encloses the subject. 



colors, that can not be obtained by mixing other colors, are found 
to be orange, green, and violet. But the artist must use pigments, 
and so the true theory for his assistance in mixing them is the old 
theory that red, yellow, and blue are the primaries. 

Red and Yellow combine to make Orange; Yellow and Blue 
combine to make Green; Blue and Red combine to make Violet. 
Orange, Green, and Violet are thus the secondaries by the pig- 
ment theory. Orange and Green combine to make Citrine or a 
yellow gray. Green and Violet produce Olive or a green gray. 
Violet and Orange produce Russet or a red gray. These grays 
are called tertiary colors. Red, Blue, and Yellow when mixed to 
neutralize each other produce the neutral Black. 

Black mixed with any primary, secondary, or tertiary darkens 
the color, and the result is called a Shade. White mixed with 
any color lightens it, and the result is called a Tint. 

Before attempting to paint in oils, water-colors, or pastels, 
you should make all the above mixtures and repeat them as 
many times as may be needed to enable you to match any color, 
or tint, or shade of any color; and to be perfectly sure that the 
only pigments that the artist needs are red, yellow, and blue, 
black, and white. 



PAINTING SELF-TAUGHT 51 

89. Avoid Many Pigments. — The price lists of color makers 
include hundreds of colors to the confusion of the student who is 
thus influenced to use too many. The objections to many pig- 
ments are that colors often act chemically on each other, and the 
more colors you use the greater the chance that the picture will 
become black and colorless in time. Every added color means 
more time taken in finding it in the box and on the palette, so 
you should confine yourself to a few pigments which you have 
tested separately and together to be sure that they are perma- 
nent and do not destroy each other. 

Test pigments by combining them and by mixing them with 
white, and placing the results on canvas which is to be exposed 
to sunlight for months or years. 

90. Warm and Cold Colors. — Colors are called warm or cold 
according to the preponderance of the pigments that compose 
them. Red and yellow are the warm colors, and any mixture 
in which these predominate is a warm color. Blue is the cold 
color, and any mixture in which it is most active is a cold color. 
Do not try to name each individual color and mixture, but learn 
to classify all as warm or cold. To aid in doing this hold your 
palette as far as possible from the eyes, or, better still, place it 
on a small table as far away as you can reach to mix the warm 
and cold tones. Do not try to remember the colors that you 
mix for any effect, but be guided entirely by your use of the 
lenses. If they show that your sketch is warmer than the subject, 
you must add more blue. If the lens that reflects the painting is 
bluer than that which reflects the subject, then add more red 
and yellow. If the lens that reflects the painting is lighter than 
that which reflects the subject, then add more red, yellow, and 
blue, and if it is darker than the lens that reflects the subject, 
you must add more light colors or more white until the two 
blurred images on the lenses are exactly alike in warm and cold 
color and in light and dark. 

When you compare your painting with nature be sure you 
have as strong a light upon it as that upon the group. If you 
can not get this light without foreshortening the surface of the 
picture you may place it at any oblique angle that may be 
needed to make the lights of the painting equal those of the 
subject. 

91. Truth is Difficult. — Nothing is more difficult than truth 
of color, tone, atmosphere, and drawing; and nothing begins to 
equal the beauty which this truth gives. The painters who 
have approached truth are generally the greatest in art. Realize 
this, and work for truth until you can express it, and then it will 
be easy for you to paint in a lighter or darker key than nature, 



52 



DRAWING AND PAINTING SELF-TAUGHT 



or in a warmer or colder scale of color, and you may also change 
the composition as you wish. 

Avoid crudity of color in the painting that is apparent when 
the lenses are used. The attempt to reproduce the light and 
color of nature often results in a crude or chalky painting unless 




Fig. 29. — Half-hour brush drawing by first-year student. 



you use the lenses often to overcome the effect arising from the 
use of pigments, as they come from the tube or the pan. 

92. Tube Colors are Crude. — Crudity is almost sure to re- 
sult from the use of pigments as they are found in the tube or the 



PAINTING SELF-TAUGHT 53 

pan of the color maker. Generally two colors at least must be 
combined to avoid crudity, and it is better to have a little of 
each primary pigment in every tone used. 

The impressionists avoid this crudity by using pure pigments 
in such small spots that they blend in the eye when seen from a 
proper distance, and produce a richness of tone and color that is 
difficult to obtain by pigments mixed with the brush. This method 
permits great strength and refinement of color, but it is a slow 
method and not advisable for the student, who should try to 
mix colors on the palette so as to cover quickly the entire canvas. 

93. Direct Painting Advisable. — When it is possible to pro- 
duce such results at one painting as those by Sargent or Redfield, 
their beauty and strength equal or exceed any effects gained by 
slower methods. If you are able to do your best by one painting 
you are fortunate indeed. But if you must repaint, remember 
that there are very few painters who do not do their best work 
in this way. 

Do not repaint, however, by placing one solidly painted sketch 
on top of the first one, for the colors and the technique of the 
first will show through the second painting. If the first solid 
painting is not satisfactory, scrape it off entirely, and repaint 
upon the clean canvas. If parts are satisfactory, retouch the 
other parts when they are dry by a thin glaze of transparent 
color, or by scumbling, or hatching. 

94. Toned Pigments. — Some artists prepare and tone their 
colors for each picture before they begin to paint, and complete 
formulas have been devised to obtain a toned and harmonious 
picture. 

You should avoid all methods that substitute a formula or 
rule for visual appearances, but you need not hestitate to tone 
your colors, or even to prepare toned colors in tubes. 

Toned pigments may now be purchased in both oils and water- 
colors, and, if your color sense is not keen, they will aid you to 
avoid crude color. If you use toned colors, you will also need 
pure red, yellow, and blue whenever the subject is light and 
brilliant or strong in color. 

Select the pigments that suit you best, making sure they are 
permanent, and do not use more than half a dozen on any one 
sketch. When your subject is light, use light colors, and when 
the subject is low toned, select darker pigments. Do not adopt 
without trial the palette of any artist, no matter how noted. 

95. Avoid Heaviness. — Never paint any darker than is 
necessary to produce the desired effect, for all pigments darken 
or lose color by exposure to light. You can almost see some 
modern paintings change, so rapidly do they darken in only a few 



54 DRAWING AND PAINTING SELF-TAUGHT 

years of exposure under the best conditions of light and atmos- 
phere. When you paint pictures to be kept, it is better to make 
them lighter and brighter than nature, for if you do not, time will 
soon make them so dark that they will lose all truth and beauty. 
When copying an old master you should remember that it was 
far lighter before age, varnish, and dirt reduced its light and 
color. 

96. Impossible to Equal Nature. — When fou place your 
picture in the same light as the subject, you may closely repro- 
duce its colors so that the blurred images of the two lenses will be 
of the same strength if the colors of the subject are not too dark. 
When the subject has black or dark objects you can not equal 
their strength, for there are light and shade on every object, and 
the shadow side of a black object must be darker than the light 
side. The shadow side must be represented by black, and a 
much lighter tone must represent the light side of the object. 
When you compare the painting with the subject by use of the 
lenses, the comparison is of black which is in shadow on the 
object, with black which is in light on the drawing or painting. 
In this case the best that you can do is to use black for the shadow 
side and make the values of all the other parts agree with this 
strongest dark. If you keep these relations simple and true, 
you can make an effective picture which is much stronger than 
at first thought seems possible. This is due to the fact that the 
black object in shadow is often so far away from the eye that, 
when looked at through the shaded side of the black velvet finder, 
it appears quite gray. 

It is of course impossible to equal sunlight effects or even the 
brilliancy of glitter lights on polished objects in the studio. True 
values will, however, result in satisfactory effects if you do not 
attempt details at the expense of masses. 

97. Brushes. — Buy the largest and the smallest brushes made, 
for both oils and water-colors. Always use the largest brush 
that will not interfere with the drawing of necessary detail. 

For oil-colors, bristle brushes come in many forms. You will 
determine the best forms by practice. A few small red sable 
brushes will, however, be needed for fine details. 

For water-colors, red sable brushes that come to a sharp fine 
point are best. Camel's hair and Japanese brushes are cheaper. 
A short stiff bristle brush may be used to take out water-color 
that is too dark. A small red sable brush should be provided 
for fine drawing. 

98. Method of Painting. — In any medium strive to produce 
the tone and effect of the subject as quickly as possible and to 
cover the canvas or paper right out to all the corners, so that you 





Fig. 30. — Brush drawings by first-year students. 



56 DRAWING AND PAINTING SELF-TAUGHT 

may place the brightest light, and the strongest dark, without 
delay, and test the effect and masses by the use of the two lenses. 
Before you begin to paint study the effect through one lens, and 
all the time as you work, use the blurred vision Reynolds de- 
scribed until the masses and effect are true. After this is accom- 
plished you can focus your eyes on the detail needed to finish the 
picture. It is better to put in too little than too much detail. 
After it is all represented you should always apply the test of 
the lenses, to see that the detail does not show any more strongly 
in the lens that reflects the painting than it does in the lens that 
blurs the subject. 

Avoid the common mistake of insisting on obtaining effects at 
first touch. A few great artists have done this, but they did not 
do it when they were students, and you will never do it if you 
ape the cleverness which the masters gained only after a life- 
time of hard work. 

99. Art Should Follow Truth.— When able to tell the truth 
about nature's appearances study the works of all schools and all 
painters, and feel free to improve on nature if you can do this 
with' a distinct and genuine purpose of your own, and with no 
thought of copying others' results, or methods. Tell your own 
story in your own way and win on your own merits. There is no 
chance of winning by being a copyist. 

PAINTING IN CHARCOAL. 

100. Charcoal is the easiest medium for the beginner, as it 
requires little thought except for form and values. Until you can 
tell the truth about these, it is wise to avoid the more difficult 
proMems involved in subjects that require thought for drawing, 
values, color, and technique all at the same time. Simple effects 
in color may, however, be attempted as described in Sections 129 
and 130 before you are able to draw. 

Aim to represent the light and shade and color values of ob- 
jects and background so fully that if you were color blind, and 
should compare the charcoal drawing with the subject by the aid 
of the lenses, the lights and darks in both lenses would appear 
exactly alike to the very edges of the paper. 

101. Produce the tones by placing a large round stick of the 
softest charcoal flat on the paper, and passing it over the entire 
surface as quickly as possible. Rub the tones thus produced 
lightly into the paper with the hand or a cloth, and then draw 
the detail and strengthen the tones as needed with the end of a 
stick of charcoal, which may be hard and sharpened to a fine 
point if desired. Take out lights with a piece of Art Gum or a 



PAINTING SELF-TAUGHT 57 

clean stump. Fix the drawing with liquid white shellac diluted 
with denatured alcohol, until it is about twice as sticky when 
almost dry on the fingers, as is the fixatif usually prepared by 
art supply stores. 

102. Spray the fixatif on the face of the drawing with a fold- 
ing tin atomizer, being careful not to get near enough for drops to 
form and wash the charcoal away. You may paint the fixatif 
on the back of the drawing after placing the drawing face down- 
ward between two sticks upon which the edges may be fastened 
with tacks. Use a large bristle brush for this purpose. 

Make quick sketches on half sheets of charcoal paper, and 
finished studies on entire sheets. 

Always make all drawings and paintings life size or as near this 
as the paper will permit. 

My book " Light and Shade" explains the theories which you 
will discover for yourself if you use the lenses as directed. Do 
not study this book until you can make effective sketches in a 
half-hour, and do not attempt such finished results as those 
shown in this book until after you can make the half-hour sketch 
that stands the test of the two lenses. 

PAINTING IN WATER-COLOR. 

103. You should begin with monochrome, using charcoal 
gray or cold sepia in tubes. Any cheap white paper will do for 
quick sketches, but you should use pure cold- pressed linen or 
water-color paper for finished studies. 

Before you begin to paint, study the effect carefully by use of 
one lens held at such a distance from the subject and your eye 
that the subject fills the lens. Look at the lens and not through it, 
as if the blurred image were painted on the lens; and memorize 
the forms and colors so that you could work from memory. Be- 
sides studying the effect of the entire group by use of one lens, 
it is well to move near enough to the group to be able to make 
each object in the group fill the entire lens, that you may separate 
the mass of light from the mass of shadow. Any part of any 
object may be made to fill the lens that its color may be seen. 
After this careful study of the effect, begin the painting, using 
the wet method or the dry method as you prefer. 

104. The Wet Method. — Thoroughly soak the paper and a 
piece of blotting-paper of the same size. Place these papers upon 
a sheet of glass with the blotter next the glass, and hold the 
papers on the glass by four rubber bands over their edges. A 
drawing board having oil-cloth under the blotter may take the 
place of the glass. 



PAINTING SELF-TAUGHT 59 

Make the drawing with the point of a brush wet enough to 
take up a little color. Then with the side of the brush lay in the 
masses of color. Use barely water enough to hold the color and 
deposit it where it is wanted. Too much water will flow the 
color outside its proper limits.. 

Keep the paper always wet enough to enable you to add more 
color and to take off color with a dry blotter, or dry brush, or a 
cloth. If the paper dries, spray clear water upon it with an 
atomizer, and continue to perfect the drawing and the color 
until a satisfactory effect is gained. When this is done allow the 
paper to dry as you add the finishing touches of details, since 
these need to be sharp in outline. This is the Dutch method and 
is capable of splendid effects that are artistic and strong at the 
same time. Do not use Chinese white or any body colors on such 
drawings. 

105. The Dry Method. — There are so many different ways 
of using water-colors on paper that is dry or moistened by a 
wash of water or of light color that I question whether I should 
more than advise you to experiment until you find your own way. 
A few explanations may, however, be helpful if you do not con- 
sider them complete or binding, but simply the basis for the 
practice that will develop your own method. 

The early method for water-colors, like that for oils, was to 
obtain the drawing and light and shade in some neutral color, 
and then wash the needed color over this foundation, using trans- 
parent colors. 

The modern artist aims to secure effects as directly as possible, 
and seldom employs the old method of colorless underpainting. 

The best modern water-colors are those in which drawing, 
light and shade, and color are all given at one painting, and the 
nearer the modern artist comes to doing this at first touch, the 
better he is pleased. Keep this fact in your mind, and gradually 
you will evolve your own method that will be direct and artistic. 

Some artists carry a light wash of color over the entire surface 
of the paper, varying its strength and color as it proceeds, and 
when this is dry placing other washes over the first until finally 
the accents of dark are added with a fine pointed brush. 

Another method is to place the washes one at a time in their 
proper places, and allow each to dry as nearly as possible of its 
desired full strength. This is a crisp direct method but apt to 
produce lines of light if the washes do not meet, and lines of dark 
if they overlap. You can improve upon this method by working 
needed detail into each part before the wash dries, with a moist 
brush and a little color, and you can leave a tiny space of white 
paper between different colors as you apply them so they will 



60 DRAWING AND PAINTING SELF-TAUGHT 

not run together, and then, just before these colors are dry, you 
can blend them slightly with a moist brush, thus avoiding the 
hardness due to lines of white or lines of dark between the differ- 
ent colors, v 

If hard lines do come, they can be softened with water and a 
soft brush, or sponge. A bath of clean water over the entire 
sketch will help a result that is crude or outlined. 

Let the white of the paper produce the high lights, and do not 
use Chinese white or body color at all unless you use it in all 
parts of the sketch. 

I can not tell you how to represent any object, detail, or effect, 
for this would mean formulas and recipes in place of observation 
and truthful representation. Use your lenses until they fail to 
improve the masses; thus you will find your own way, and do 
your best work. 

PAINTING IN OILS. 

106. Materials. — Oil-colors come in tubes that are intended 
to contain pigments of the right consistency. Color that is too 
thick may be thinned with equal parts of turpentine and lin- 
seed oil. Poppy oil dries slower than linseed oil and may be used 
to retard the drying of the colors. Siccatif may be used to hasten 
drying, but it is better for you to use at first simply the colors 
as they come from the tubes. 

The painting may be made upon paper, cardboard, canvas, or 
wooden panels. The natural surface of all these is very absorbent 
and most painters prefer to prepare the surface, so that the color 
will not be absorbed too quickly. This may be done by a coat 
of varnish, or paint, or of glue size and whiting. Some painters 
prefer to work upon an absorbent surface which may be prepared 
by thin glue size and whiting mixed to the right consistency to 
apply evenly, and in a thin coat when the mixture is cold. This 
is suitable for panels of cardboard or of wood. An absorbent 
canvas may be made by tightly stretching the canvas over a 
stretcher or any other surface, and then giving it a coat of thin 
glue size. If thick glue is used the canvas will crack. When 
the canvas is dry a coat of white lead paint thinned with turpen- 
tine is applied. The canvas is ready for use when this paint is 
dry. By mixing the white lead with linseed oil instead of tur- 
pentine a non-absorbent canvas is secured, and this paint may be 
•used upon wood or cardboard if desired. When wooden panels 
are used they should have a coat of paint upon the back to keep 
them from warping. 

The cheapest material for the many quick sketches the student 



PAINTING SELF-TAUGHT 61 

must make is paper or cardboard of any thickness prepared as 
explained above. You may make many of your first sketches 
on the same panel or canvas by scraping off the paint with a 
palette knife when the sketch is completed and then washing 
the surface clean with a cloth and kerosene. 

107. Use a White Ground. — The old masters painted upon 
a pure white surface, and you should do the same, avoiding even 
the natural surface of wood or cardboard, which will darken with 
age. If you paint upon an old picture its colors will darken those 
placed upon it, and in the same way any dark ground will strike 
through. Therefore you should not save your paints by placing 
them upon the panels or canvas you may have on hand for fu- 
ture use. 

Varnish is not white and therefore not suitable as a ground 
for anything except practice sketches, and even these will be 
better if made upon a pure white surface which aids you to keep 
your work light and effective. Another objection to a varnished 
surface is its smoothness; therefore avoid using varnish except 
when you must prepare a panel for immediate use, and must 
therefore use a varnish prepared with alcohol. Whiting sifted 
upon this varnish before it is dry will improve the surface. 

108. Monochrome. — The first work in oil-colors should be 
in monochrome, using black and white or any dark brown 
color as raw umber or Vandyke brown. In study of a cast hav- 
ing warm reflected lights a little yellow ocher may be added to 
these parts. 

Try to cover all the canvas as quickly as possible so that you 
may use the lenses as a test of values and masses, but remember 
that good drawing and true values are more important than clever 
technique, and so you should work over your first painting until 
no mistakes exist in any of these points. If you make a sketch 
that has fine qualities it may be well to keep it, even if it is not 
perfect everywhere, and not risk losing the good qualities by 
repainting; but most of the time it is better to repaint until 
clever handling gives place to honest drawing and modeling, 
unless all these qualities can be had at the same time. 

109. Painting in Oil-Colors. — Many of the old masters 
painted with black, white, and red until drawing and modeling 
was perfected. When this ground was dry, they added the color 
by thin glazes of transparent colors. Beautiful effects of light 
and color are possible in this way, but you must not allow the 
old masters' results to blind you to the beauties of the soft and 
pearly tones of flesh in a natural light. The light and color in 
many old pictures are not true to daylight effects unless also in- 
fluenced by colored or strong reflected lights. You should strive 



62 DRAWING AND PAINTING SELF-TAUGHT 

to represent at first simply what you see by the light of any 
window, — North, South, East or West. When able to do this, 
you may study by firelight, or lamplight and daylight combined, 
or by any artificial colored light. 

110. You should mix your colors on your palette to give the 
right color and value at one touch if possible, but when the lenses 
reveal mistakes, you should add more color to the sketch until 
it is corrected or until you have to scrape off all the color and 
begin again. 

111. You can change the colors or the values of a solidly 
painted picture which is quite dry by glazing transparent colors 
thinned with medium upon it, or by scumbling thin opaque 
colors; but this should be the last resort to avoid scraping out 
and repainting. Do not understand me to mean that you may 
not secure good results by glazing, scumbling, hatching, and 
stippling, for many painters do their best work in these ways, 
and often they are the best painters. 

112. The Masters Work Hardest. — Do not think the mas- 
ters do their work without effort, for often they may have to 
scrape out all the work of the preceding day and repaint, and 
continue this process for many weeks before they obtain the 
satisfactory result which looks as if done without any effort. 

113. No Best Way. — There is no best method. One artist 
of high standing never began to succeed till he painted upon the 
wrong or unsized side of his canvas. Some artists prefer to work 
upon an unsized surface which takes up the medium so quickly 
that the paint must either be made very thin with spirits of 
turpentine or be applied with a palette knife. 

Occasionally an artist may adhere to the old method of cover- 
ing the canvas with a thin wash of transparent brown darkened 
in the shadows before painting solidly, but most painters who 
begin with thin color prefer to use the color visible in nature, 
since this hastens the effect and aids in the present effort to ex- 
press the light and pearly color seen by the sensitive eye. 

Some painters use a siccatif or drier, and others use slow 
drying mediums. Varnish and oil and turpentine give a quick 
drying medium occasionally used. Good results come whenever 
an artist who sees truly and feels deeply is in earnest about his 
work. This is the reward you have for the many years of hard 
work that are necessary before you can do your very best. 

114. Avoid Sharp Edges. — Always paint the object and 
its background at the same time, and finish at one sitting, or 
at least finish the drawing of the contour of the object. Nature's 
outlines are seldom sharp, and if you do not paint object and 
background at one sitting the edges are apt to be too hard. 



Drawings by the Same 
Freshman. 



Entrance Examination 
September. 



Brush Drawing 
March. 



Brush Drawing, One Hour 
April. 



All Drawings were 
Examinations. 



ao Sept 28 ^A'hn,, 



Mar./4- 




i Apr'/ 1 IS. rwi 
Fig. 32. — Gain made in freshman year. 



64 DRAWING AND PAINTING SELF-TAUGHT 

You must vary the sharpness of the edges in all parts of the 
painting. As in outline drawing there must be no rule or definite 
plan for doing this, for it is a matter of feeling and artistic ex- 
pression. In painting this variety is easier to obtain than in 
outline, for in light and shade or color you can represent exactly 
what is seen to a greater extent than is possible in an outline 
drawing. The student should therefore aim to be truthful until 
it is easy and natural to be so. 

Outlines are often lost entirely in the shadows, and care must 
be taken not to represent these outlines that are not seen. Some- 
times the outlines are lost in the big masses of light. The out- 
lines of cast shadows are always changing in sharpness. 

In light and shade or color be careful not to draw outlines 
around objects, for you never see them in nature. Objects appear 
lighter or darker than what is behind them, and there is never a 
continuous outline of light or of dark around any object. There 
is a narrow shadow underneath an object that separates it from 
the supporting object, but this is part of the shadow and not 
found outside the shadow. 

Generally an object is lighter than the background in'one part 
and darker in another, and so the effect is continually changing 
from light to dark and from sharp edges to blurred edges. You 
must observe all these changes and represent them truthfully 
but without exaggeration, for edges without variety of light and 
dark and of sharpness and softness are fatal to truthful and artistic 
painting. Uniformity of edge and forms that are outlined are, 
however, permissible and necessary in decoration where design 
and conventional beauty are most important and exactness of 
visual appearance is to be avoided. 

115. Vibration of Color. — The impressionists have greatly 
extended the painter's power by proving the value of the laws 
of color contrast in the effort to represent light and color. You 
should study these laws, and in landscape painting at least, you 
should experiment with spots of contrasting colors of the same 
value. This method is especially helpful in representing a blue 
sky, and in any subject it will give strength and refinement of 
color. In still life and portrait work students should use blended 
colors in flat tones that will produce the effect of nature in one 
lens just as the subject reflects it in the other. 

116. Forget the Actual Colors. — You should entirely forget 
the color of the object and the colors of the pigments you are 
mixing, and think simply of the warm and cold, the light and 
dark of the effect, as seen upon the lenses. It will be easier to 
do this if you always stand as far as possible from your easel. 
If you are not one of a large class, place your easel a few feet 



PAINTING SELF-TAUGHT 65 

away from the model, observe the model from a distance, and then 
walk up to the easel and paint from memory, until you need to 
observe again. 

117. Do not hesitate to add bright and pure pigments to 
any part of your picture as may be needed to make this part 
seem in one lens the same color that the subject appears in the 
other. You can not represent snow with white paint, and you can 
not at first produce the effect of flesh with the colors you think 
it ought to appear. Until 3^ou rely on the lenses there is little 
chance of your using the right colors or seeing more than the 
actual facts of color. Use the lenses properly and always paint 
with pure color, never using neutral mixtures until the two lenses 
present the same masses of color. By this means you may save 
a score of years of colorless results. 

118. The Palette. — The best palette is made by placing 
clear glass upon a sheet of white paper on the top of a small 
table. The table is valuable not only to save you the labor of 
holding the palette but to support it farther from the eye than 
it can be held by the hand. This distance helps you to think 
of the color you are mixing rather than of the separate pigments 
in it. 

119. You should always arrange the colors in the same way 
on the palette but should try to avoid formulas for mixing tones 
and depend instead upon the effect of the mixture as warm or 
cold and light or dark. You can match values and colors in 
this way much more quickly than by the use of formulas. 

At the end of each sitting clean your brushes, first in kerosene 
and then with soap and warm water. 

120. The oil-colors put up for house painters' use in pound 
cans are cheaper than tube colors and good enough for many 
purposes when made by a reliable maker, and of an earthy nature. 
You can test these colors as explained in Section 89. French zinc 
white in pound cans is also satisfactory and half as expensive 
as the color in tubes. 

PAINTING IN PASTELS. 

121. Pastels are made of color that is bound together in the 
form of a crayon by gum tragacanth. Each crayon makes its 
colored mark just as the white chalk crayon makes its mark. 
It is evident that pastels can not be used on a smooth surface. 

You can make your own pastels readily and cheaply by following 
directions given in the book "Letters to a Painter" by Ostwald, 
translated by Morse. 

122. Special pastel cardboard and canvas with a fine sanded 
surface is made, but any paper with a rough surface will answer. 




Fig. 33. — From pencil painting by Anna M. Hathaway. 



PAINTING SELF-TAUGHT 67 

A sheet of tinted crayon paper makes a cheap substitute for 
the special papers, while oatmeal paper such as paper-hangers 
use is cheaper still, and good enough for quick sketches. 

With pastels as with other mediums it is simply a matter of 
getting the right color in the right place, but as pastels are not 
as easy to mix as other colors, you may have a more extended 
list of colors. 

123. Pastels may be blended to produce any desired color 
by rubbing two or more crayons over the spot where this color 
is needed, and then blending the different colors together with 
the hand. This result may be obtained by the impressionist's 
method of separate strokes of the different colors placed beside 
each other or one upon the other. 

Pastels are permanent when made of pure and permanent 
pigments, but the color is easily rubbed or shaken from the pic- 
ture, and should be protected under glass, or by fixing with a 
special fixatif for pastels. 

In some ways pastels are easier than other colors for the be- 
ginner. I have seen beginners produce really excellent results 
in the first attempt with pastels (see Frontispiece). The chief 
objection is that they are dirty, and the floor under your easel 
must be covered with a cloth. It may be wise for you to experi- 
ment with all the colored mediums, and then continue with pas- 
tels, oils, or water-colors as you prefer. 

124. Hundreds of tints, shades, and tones of colors are pre- 
pared for you to select from. I would advise you to purchase 
the large soft crayons 3^ inch in diameter and 2}^ inches long. 
Buy the primary, secondary, and tertiary colors, with black, 
white, and light and dark grays, both warm and cold. This 
will give you fifteen crayons, and you may add tints and shades 
and hues of the above colors if you find that you need them, 
but the fewer you require the better. 

125. Before using the colors make a few sketches in black 
and white, with an intermediate neutral gray, to learn how to 
blend the tones. Obtain the masses by placing a crayon flat on 
the paper. Draw detail with the end of the crayon, which may 
be sharpened if desired. 

126. As with oils and water-colors you should use bright 
pigments when the subject is light, and lower toned colors when 
the subject is darker. Do not use neutral browns and grays 
in any medium, but make all colors by mixing the primaries 
or secondaries without fully neutralizing the result. You had 
better err on the side of a little too much color than avoid cru- 
dity by commonplace browns and neutral grays. 

Do not fear to believe your eyes and represent what you see 



68 DRAWING AND PAINTING SELF-TAUGHT 

by the use of the lenses. Many artists have seen truly but have 
been afraid to paint what they saw until some braver soul had 
done the work and gained the reward of independence. 

127. Choice of Subject. — Though the medium you use is 
not important, it is important that your first subjects should 
be selected so as to make it easy for you to study the point in 
which you are most deficient. If you can not draw, you should 
work in outline from boxes, furniture, and geometric forms, 
in-doors and out-doors. If you wish to study light and shade, 
select still life in which the objects are not too broken in color. 
Objects of one color are best, for all the changes are due to light 
and shade. In the same way, such still life subjects are the 
best for first lessons in painting. Avoid all objects that are 
covered with designs and those whose forms are complex. Fruits, 
vegetables, and still life are the best subjects for the beginner 
in color. When you are able to paint these well you will have 
little difficulty with the figure or a landscape. 

128. You should select still life that you can represent full 
size. If you work in your own home you should place the sketch 
beside the group and keep it there most of the time that you 
spend on the drawing. At least, you should keep it beside the 
group until the lenses prove you have the values and masses 
correct. You should observe the appearance from the desired 
distance, walk up to the drawing and work upon it until you 
have done all that you remember. Then you should observe 
again, and so continue until the drawing is complete except 
possibly for a few finishing touches. These you may make if 
you wish, with the drawing placed so that you can work and 
observe at the same time. 

129. First Painting Lesson. — The best subject for study in 
values or color is a background and foreground when both are cov- 
ered with paper or cloth of one flat color. In a painting the back- 
ground is as necessary as the objects, and this subject that in- 
volves no drawing will quickly prove how much the color and 
value of any material are changed by the light that falls upon it. 
At first glance you may see no difference between the color or 
value of foreground and background, but when you hold one 
lens so that it reflects the color of the background and the other 
so that it reflects the color of the foreground, it is seldom that 
you will not see a marked difference. You should try this prob- 
lem from many different colors and materials until it is easy 
for j'ou to see these relations truly. Then you should arrange 
drapery in folds over background and foreground, and make 
careful paintings of both form, light and shade, and color 
effects. 



Hmo 



Drawings by the Same 
Freshman. 



Entrance Examination 
September. 



Brush Drawing, Two Hours 
March. 



Brush Drawing, One Hour 

and a Quarter 

April. 



All Drawings were 
Examinations. 




Fig. 34. — Gain made in freshman year. 



70 DRAWING AND PAINTING SELF-TAUGHT 

130. Next place any colored object upon a background and 
foreground without folds, and try to decide whether the light 
or the shadow of the cloth is the warmer; and whether the light 
side of the object is warmer or colder than the shadow side. 
Study these relations by use of the lenses and then paint the 
effects until the lenses prove that you see truly. 

When able to determine light and dark, and warm and cold 
colors for one object and its background, begin to study groups, 
always using the lenses before painting and during painting, 
and for a final criticism of the completed sketch. 

131. When you can represent the group, you will readily 
include that part of the room about the group. When able to 
represent this subject you will not hesitate to try a landscape or 
street scene. These latter are no more difficult than the interior, 
and there is no reason why you should not study them before the 
interior if you wish to. 

132. You can try a portrait whenever you desire. Without 
regard to the subject, all that you need to do is to reproduce the 
colors and masses you see upon the lenses, and then add the 
most important details visible without the use of the lenses. 

133. The Palette. — I have not specified the pigments to use, 
because this would do more harm than good. I do not wish 
you to copy any one or accept any person's judgment without 
trial. It is a simple matter to experiment with the colors that 
are said to be permanent or nearly so, and thus decide your 
own palette. Much depends on whether the colors are mixed 
too much or with too many other colors. Permanent colors 
may be spoiled by other colors, and colors not considered per- 
manent may prove satisfactory if they are used quite directly 
and not retouched. 

134. Your selection of colors will be influenced by your eye 
for color, and if it is sensitive you will be able to use pigments 
that would produce crude effects in the hands of one whose color 
sense is not keen. 

It is wise for you to begin with subjects that can be represented 
by low toned pigments of an earthy nature and gradually as 
their need is felt add the brighter ones. 

Try to remember that the stronger the artist the fewer the 
pigments he uses, and some noted painters have placed only three 
pigments with black and white on their palettes. 

135. Choice of Medium. — Broadly, this becomes a question 
of whether drawing or painting is the aim of the student. Of 
course, you must draw when you paint, but it is easier to draw 
with a firm and hard point than it is with the yielding point of a 
brush. Therefore the old masters when they wanted an exact 



PAINTING SELF-TA UGHT 7 1 

drawing, used the point of a pencil, or a crayon, or even a pencil 
made of pure silver. With such a sharp instrument you may 
study the most minute changes in form. You should use such a 
point for exact studies until you can draw quickly and perfectly 
all the detail in a difficult subject, but you should not study 
values or color effects with such a point unless the drawing be 
very small. 

136. When you wish to work in values you should use char- 
coal or water-color monochrome, and avoid pen and ink and all 
pencils or crayons. 

In color study use pastels, water-colors or oils, as you prefer. 

The methods of this book enable you to study color and values 
while you are learning to draw. You will be wise to spend your 
time first on drawing and then on painting, and to keep shifting 
from one to the other as often as you meet with success in one 
and failure in the other. 

137. You should draw with the brush as well as the pencil 
when you find you can draw correctly with the pencil, and you 
should experiment with all the different mediums in common 
use, including pen and ink and etching when you are able to draw 
without tests and measures. 

It should be your first aim to see outline correctly, and then 
color correctly, and to practice with the different mediums until 
you no more have to think laboriously of drawing, light and shade, 
or color, as you work, than the pianist has to put labored thought 
on his notes or his technique as he enthuses his audience. 

138. Draw With the Brush. — It is a great mistake to make 
a finished drawing as a basis for a painting to be made upon 
the drawing. With such a drawing comes the fear that you 
will lose it when you paint. To do the best brush work you must 
be free from all fear. The fear of losing a drawing will produce 
a hard and mechanical result, and generally a faulty one as well. 

In water-color work a preliminary drawing will show through 
transparent colors placed upon it, but even then careful drawing 
of details in pencil will lessen the charm that comes from draw- 
ing and painting at the same time with one touch of the brush. 

Oil-colors or opaque water-colors hide the drawing completely, 
and so it is wiser not to put much detail in any drawing made as 
a basis for a painting. No matter how hard you try not to lose 
the first drawing, you will do this unless you can draw and do 
draw all the time with the brush. It is not only a waste of time 
but an injury to the painting to do more than draw the most 
important masses before you begin to paint. 

Many painters draw with color only, but unless you draw 
perfectly with the brush and compose with equal facility, it is 



72 DRAWING AND PAINTING SELF-TAUGHT 

wise for you to make a light pencil or charcoal sketch of action and 
proportion, in order that you may obtain the best composition. 

139. If you can not draw and paint at the same time, you 
should study drawing alone with the pencil as explained in Chap- 
ter II. Artists make many sketches and studies for their pictures 
in which the detail is often most carefully drawn. When the 
artist produces the final result after having made a series of 
such sketches, he is sure of what he wants to do, and often is 
able to draw and color perfectly at first touch. 

140. Expect Poor Sketches. — Do not be discouraged when 
the day's work seems thrown away, for this is not the case no 
matter how bad the sketch may be. Work that varies from day 
to day should encourage rather than discourage. The best 
painters may work for weeks on the same portrait and fail 
all this time, and then finally produce a masterpiece in one sit- 
ting. If your work is not uneven in this way there is cause for 
questioning whether it is wise to continue, for the best artists do 
their best work at intervals and generally freely admit it. But 
they do not cease trying and wait for the inspiration, and you 
must follow their example. Work that will take first rank will 
never come until you can do good work even if you are not in 
the mood for the best. 

You must work hard daily to perfect your vision and 
your technique, for though the artistic beginner may do better 
than he knows, he must never expect to do the best he is capable 
of doing until he knows enough to redeem a bad start, and turn 
it into a good result from his sure and exact knowledge that is 
more science than the inspiration of art. In other words, the 
greatest genius prepares himself by the hardest possible training, 
extending over the whole of his life, for the inspired moments 
that produce his masterpieces. 

141. General Principles. — No rules for painting can be given 
except that objects are seen through contrasts of simple masses 
of light and of dark. The light masses are composed of surfaces 
which receive direct light, and the dark surfaces are those which 
are in shadow and visible only by reflected light. 

In any subject there will be one light which is lighter than all 
others, and one dark which is darker than all other darks. These 
must be represented in every painting and kept in these relations. 

The nearest of several equally light objects will appear the 
lightest, and of several equally dark objects the nearest will 
appear the darkest. Thus a light surface appears to darken as 
it retreats, and a dark surface appears to lighten. This effect is 
increased by contrast when the light and shadow sides of an 
object are juxtaposed. 



PAINTING SELF-TAUGHT 73 

Surfaces toward the light lose much of their detail in the mass 
of light. Those in the shadow lose much detail also. Thus a 
small detail of dark in the mass of light is not a strong dark, and 
a reflected light in the mass of shadow is not light but a dark that 
does not break up the mass of shadow. 

In painting the drawing is best gained by studying the forms of 
the shadows and cast shadows instead of the outlines, therefore it 
is important to draw very carefully the line that separates the 
mass of shadow from the mass of light. 

Cast shadows sharpen in outline and grow darker the nearer 
they come to the parts that produce them. 

The glitter light on any object changes its position as the 
spectator moves. It is not the fixed point nearest the source 
of the light, as is often claimed. 

PIGMENTS. 

Lead or Zinc White.* Ivory *or Blue Black. 
Red 1 Light Red,* Venetian Red,* Indian Red.* 

2 Alizarine Crimson, Harrison's Red, Vermilion. 

3 Lacque Rose Dore, Pink Madder, Madder Lake. 
Orange 1 Chrome Yellow Orange. 

2 Orange Vermilion. 

3 Cadmium Yellow Orange. 

Yellow 1 Yellow Ocher,* Raw Sienna,* Chrome Yellow. 

2 Chrome Yellow Light, Zinc Yellow. (Inexpensive.) 

3 Aureolin, Lemon Yellow, Cadmium Yellow, Mars 

Yellow. 
Green 1 Permanent Green Dark. 

2 Emerald Green. (Inexpensive.) 

3 Cobalt Green, Vert Emeraude. 
Blue 1 New Blue, Permanent Blue. 

3 Cobalt Blue,* Cerulean Blue, French Ultramarine. 
Brown 1 Burnt Sienna,* 3 Brown Madder. 

The cheapest and darker colors are listed under 1. The lighter 
(usually more expensive) colors under 2. The most expensive 
under 3. Starred colors may be purchased in pound cans for 
house-painters' use. 

Do not mix Cadmium or Vermilion with Emerald Green. 



Chapter IV. 
MEMORY DRAWING. 

142. Artists Draw from Memory. — Far more important 
than ability to draw what is before the eye is the trained memory 
that enables one to draw without a model to observe. "The 
Training of the Memory in Art" by L. De Boisbaudran, written 
in 1847, and translated by Luard, is an interesting book that 
proves how carefully finished pictures may be made from memory. 

The most noted artists have always worked from memory, 
and some assert that this is the only way the best in art can be 
produced; so you should realize that the power to draw from the 
model is only a part of your education. The following from 
Whistler's Ten O'Clock makes this clear. 

143. "Nature contains the elements in color and form of all 
pictures, as the keyboard contains the notes of all music. 

■<^ "But the artist is born to pick and choose and group with science 
these elements that the result may be beautiful. . . . 

"To say to the painter that nature is to be taken as she is, is 
to say to the player that he may sit on the piano. 

"That nature is always right is an assertion artistically as 
untrue as it is one whose truth is universally taken for granted. 
Nature is very rarely right, to such an extent even that it might 
almost be said that nature is usually wrong : that is to say the con- 
dition of things that shall bring about the perfection of harmony 
worthy a picture is rare and not common at all." 

144. Corrections Necessary. — Memory results that are not 
corrected train the memory for geometric facts, and aid in design 
and composition but do not give the visual power the artist needs, 
therefore you should make corrections easy by making your 
first memory drawings on the Glass. 

You may draw an object from memory after you have first 
drawn it from observation, or you may study the appearance 
until you can reproduce it clearly mentally with the eyes closed, 
and then you may make the drawing without further observation 
of the object. Either of these ways will give you the power you 
need, provided you test the memory drawing carefully to discover 
wherein it departs from the exact truth. Either way of making 
a memory drawing may be used as you prefer, or you may use 
both methods alternately. 



MEMORY DRAWING 75 

145. To draw from memory observe any object carefully 
enough to notice all its proportions and angles, also the back- 
ground spaces, and fix them in the mind so strongly that a clear 
mental image of the appearance may be secured when the eyes 
are closed. Then turn your back to the object and make the 
drawing entirely from memory. Instead of turning around you 
may hide the object behind any larger object or you may re- 
move the object after having first drawn chalk lines around it or 
placed thumb tacks at its corners. When the memory sketch 
is as perfect as possible, test it after turning to face the object 
or by uncovering or replacing the object that the drawing on the 
Glass may be held to appear to cover the object. 

146. Memory drawing is at present an important feature of 
most public school courses in drawing. From the fourth grade 
up pupils are asked to draw from memory such subjects as chil- 
dren playing games out-doors, or people around a table, or about 
an automobile or the entrance to a building. Such work may be 
more interesting than boxes and other objects that make the 
study of fundamental principles possible, but it is a mistake to 
allow such figure compositions to take the place of the object 
drawings that are possible of correction. Ingres said: "Before 
allowing a pupil to draw from memory she should previously 
have made a drawing mathematically correct, otherwise by re- 
peating her faults they are engraved on the memory." 

I would not prevent children from making free illustrative 
drawings, for this work has much value; but it is wrong to give it 
at the expense of that study from nature and objects that alone 
can develop truthful vision and expression. 

147. Cardboard Models. — Geometric forms are the best 
subjects for memory drawings for the beginner, because it is 
easy to define their position exactly, and because any mistakes 
are seen the instant the drawing on the Glass is held up before 
the object. 

The first models should have only two dimensions, and you 
may cut them from cardboard as follows: An equilateral tri- 
angular card, edges 18" long. A square whose sides are 18". A 
regular pentagon, and a regular hexagon, sides 10" long. If 
you have not large cardboard, smaller models will answer, and 
any objects at hand may be used after you have drawn these 
simple forms. 

148. Memory Without Observation. — As the power to draw 
from memory is more valuable than that of drawing from the 
model, so the power to draw from memory without any previous 
observation of the model in the required position is still more 
important, and is the foundation for the best success as an il- 





..■:■,:■; ' . ■■■■■ •■ 






... 


'* 


... 






1 1 IL*^ ^r^"" 



Fig. 35. — From pencil drawing by Anna M. Hathaway. 




Fig. 36. — Two-hour examinations made after four months' study by two of the 
students whose entrance drawings are reproduced in Chapter VI. 



78 DRAWING AND PAINTING SELF-TAUGHT 

lustrator or a painter. After you have gained the power to ob- 
serve any geometric or other form closely enough to draw the 
form from memory, you should try to draw the object in some 
imagined position at a new level or new angle. This may be at 
a given level or angle determined by a slender stick of the length 
of any edge which is placed at the described level and angle. 
Observe this stick and draw it from observation, then represent 
the object extending from this given edge. When the sketch is 
complete, place the object in position with the described edge 
coinciding with the stick, and then test the memory sketch on 
the Glass. 

149. The following problems are suggestions for such memory 
exercises, and you should repeat and extend these problems 
until you can thus draw any object in any described position. 

In each and every problem be sure to draw from memory and 
not from observation of the appearance you are to draw. When 
the drawing on the Glass is complete, test it as already explained. 

MEMORY EXERCISES. 

(1.) Place a stick 18" long on the floor and draw a square 
one side of which coincides with this stick. 

(2.) Mark off the length of either side of a small rug on a 
slender stick and place the stick in any position on the floor. 
Draw the rug as it will appear when one edge coincides with the 
stick. 

(3.) The same as (1) except that the square is to be vertical 
with its lower edge coinciding with the stick. 

(4.) The same as (1) except that you are to represent a tri- 
angular card when one edge coincides with the stick. 

(5.) The same as (4) except that the triangle is to be vertical. 

(6.) The same as (1) and (5) except that the card is the reg- 
ular pentagon and the stick is 10" long. 

(7.) The same as (1) and (5) except using the regular hex- 
agonal card as model and a stick 10" long. 

(8.) Cut a slender stick to the length of one edge of any box 
or other object in the room. Place the stick anywhere on the 
floor and then draw the object as it will appear when the chosen 
edge coincides with the stick. 

(9.) The same as (1) except that the card is inclined at an 
angle of 45° with the floor. 

(10.) The same as (4) except that the card is at an angle of 45° 
with the floor. 

(11.) The same as (1) except that the card is pentagonal and is 
at 45° to the floor. 



MEMORY DRAWING 79 

(12.) The same as (1) except that the card is hexagonal and 
is at 45° with the floor. The stick in (11) and (12) is to be 10" 
long. 

(13.) Cut from builders' pulp board, or better still from 
3-ply paneling two circular disks 12" in diameter and screw them 
at their centers to a stick 134" square and 23 J4" long. Cut another 
stick 23" long and place it anywhere on the floor. Then draw 
this model of the wheels as it will appear when the axle that 
connects the disks is exactly over the stick on the floor. 

Repeat this exercise with the stick at other angles on the floor, 
and then at different levels and angles above the eye. 

(14.) Cut a stick to fit between the two front legs of any chair, 
and then draw the chair as it will appear when the positions of 
the front legs are indicated by the ends of the stick, which you 
have placed in any position on the floor. When making this 
drawing be sure the chair is not placed at the angle of the stick, 
so that you can draw from the object's appearance instead of 
from memory. 

(15.) Place a large cube or box on the floor, and then draw it 
as it will appear after it has been lifted straight up in the air 
until its lower surface is on the level of the eye. 

Repeat this exercise, representing the object as it will appear 
when its lower surface is 2 feet above the eye. 

(16.) The same as (14) but the stick that locates the chair is 
to be placed on some table or other surface that is above the 
eye. 

(17.) Place the box of (15) on the floor and then draw it as 
it will appear after it has been revolved about one of its corners 
on the floor, through an angle of 15°. Cut an angle of 15° from 
cardboard, so the object may be turned exactly 15° after the 
drawing on the Glass is completed. 

(18.) The same as (17) but revolve the box 15° more in the 
same direction. 

(19.) The same as (18) but revolve the object 15° more. 

(20.) Repeat the exercises of (17), (18) and (19), but revolve 
the box 30° or 45° instead of 15°. 

(21.) The same as (17) but use a chair as model, and continue 
to draw the chair in imagined positions as described in (18), 
(19), and (20). 

(22.) Make many drawings of the disks of (13) in all possible 
positions until you have proven that the long axis of the ellipse 
always appears at right angles to the axis of the object on which 
the circle is situated. See Fig. 39. 

(23.) Procure a plaster cast of a skull, and draw it from mem- 
ory at many different levels and angles. 




\ %*■■■ 

■ ■ 



-' ''"<* 



-v< 





BHHHnHHBHHHL 



Fig. 3-7. — From drawing by Leonardo da Vinci (1452-1519). 



c 




Fig. 38. — From pencil drawing by Anna M. Hathaway. 



82 DRAWING AND PAINTING SELF-TAUGHT 

(24.) The same as (23), using a plaster cast of any antique 
or modern head. 

Many interesting exercises are explained in the book mentioned 
in Section 142, and it will be easy for you to develop your power 
of drawing from memory rapidly, as the problems given above 
not only train the memory but the reason, and make the laws of 
perspective the artist needs so simple that they may often be 
understood without study of Chapter V. 

150. When able to draw geometric forms from memory or 
even before this time, you may draw any other object from mem- 
ory, and especially should you draw human and animal forms 
from memory. You may practice first from the casts in 
museums and afterwards from subjects seen in your daily travels. 




Fig. 39. — From photograph of cylinders. 



Chapter V. 
PERSPECTIVE THEORY. 

151. Perspective. — The art of representing appearances on 
any surface that may be supposed to be situated between the eye 
and the objects. The simplest way to make a perspective is to 
trace upon a window what may be seen when the eye is at a fixed 
sight placed far enough in front of the window to permit the 
hand to draw upon the window. In a true perspective thus 
made every line on the glass will cover the edge it represents 
when the eye is at the sight (station-point) . 

152. Scientific Perspective. — A drawing made by the science 
which enables the angle of every line of the perspective made by 
tracing to be determined by its vanishing-point, and its length 
to be measured by its measuring-point, so that an exact result 
may be determined by theory on paper without tracing or ref- 
erence to models. 

153. Free-hand Perspective. — The artist objects to the dis- 
tortions of perspective which change proportions and angles as 
in Fig. 6, but when he draws exactly what he sees he finds that 
straight lines in nature appear curved in his picture. Therefore 
he combines the best features of the sketch he makes by eye and 
the drawing made by theory, and calls the result a Free-hand 
Perspective. It is true to the proportions seen, and since it rep- 
resents parallel lines by straight lines that converge to one 
point, it is as true in representing the facts of form and their 
relations as is the scientific perspective that is false in proportions. 

154. Vision Before Theory. — Follow Ruskin's advice and 
avoid all theory until you can draw well by eye alone, and do not 
think that theory will wisely do away with the labor involved 
in drawing from nature. 

Theory is necessary when nature can not be studied, but its 
results are not as desirable as those due to vision, because the 
more exact they are as theory the more they differ from what 
the eye sees. Even if you can save time by using theory it will 
pay to work longer and travel far to gain the inspiration of 
nature and her visual proportions which a plane perspective 
never gives. 

155. Theory Aids Vision. — Theory aids both vision and 
quick results, more when it is unconsciously applied than when 




,,*<£; 



Fig. 40. — From pen and ink drawing by Anna M. Hathaway. 









" 



Fig. 41. — From pencil sketch by Anna M. Hathaway. 



/ 
86 DRAWING AND PAINTING SELF-TAUGHT 

its vanishing and measuring points are used, for the exact science 
never has the charm of work done by relying on the eye for angles 
and proportions. Science lacks this charm not only because 
it distorts but because nature vibrates and the air causes even 
the most sharp and rigid edges in nature to appear to tremble 
and waver so much that a sharp even line in any free-hand draw- 
ing is not as satisfactory or artistic as one that gives the impres- 
sion of straightness without mechanical exactness. 

156. Free-hand Perspective Before Scientific. — The artist 
is most interested in the theory that relates to what he really 
sees. This is the picture given on a plane that is at right angles 
to the direction in which he sees an object. This perspective 
is very different from the distortions of scientific plane perspec- 
tive. It is called Free-hand Perspective or Model Drawing. 

Not only is free-hand perspective better for the artist, illustra- 
tor, and decorator, but for all general illustrations. Architects 
often use it very largely in making their perspectives. 

If your aim is simply to be able to draw and paint from nature, 
it will not be necessary to master the full science, which is as 
difficult to many as other branches of geometry. The theory 
the artist needs is so simple that a few hours' study with the aid 
of the Drawing Glass will make it clear. 

157. Picture-Plane (PP.)- — This is the surface on which 
the drawing is made whether glass, paper, or canvas. A true 
picture or what the eye really sees is one which, if on glass or 
transferred to glass, will exactly cover or hide from the eye all 
the edges of the object which it represents, when it is held be- 
tween the eye and the object in a direction perpendicular to the 
line of sight. 

Picture-Line (PL.). — The line in which the picture-plane rests 
on the ground. It is sometimes called ground-line (GL.). 

158. Station-Point (SP.).— The position of the eye that 
sees the subject and represents it on the picture-plane by tracing, 
or by observation, or by theory. 

When the eye is at the SP., the lines of any exact perspective 
cause the same image in the eye that those of the object behind 
the picture-plane produce. The distortions of perspective are 
not apparent then, and even the ellipses in Fig. 6 look as round 
as the spheres. The SP. for Fig. 6 is about two inches in front 
of the central sphere, hence the distortion is most unpleasant. 
But if the picture is viewed from a small hole cut in a card and 
held two inches in front of the middle sphere the ellipses will 
appear circles. 

Every drawing and painting has its station-point from which 
it looks best. At a greater or less distance there is visible more 






PERSPECTIVE THEORY 87 

or less of the discrepancy between the drawing and the true 
appearance that is evident in Fig. 6. 

159. Horizon-Line (HL.). — This is often supposed to rep- 
resent the horizon of the ocean, but it does not do this, for the 
earth is curved, and we look downward to see the line in which 
ocean and sky seem to meet. The horizon in perspective rep- 
resents the line in which the ocean and sky would appear to meet 
if the earth's surface were flat. The horizon in perspective is 
the line in which the floor and ceiling will appear to meet if they 
could be continued far enough. This line is on the exact level 
of the eye, and a little above the horizon of the ocean. This 
you can prove from the top of any high level wall or building near 
the ocean, for its horizontal lines will appear to converge toward a 
point that is noticeably above the horizon. By looking through 
an engineer's transit when it is perfectly leveled, you will find 
that the line that separates the sky and water appears below the 
horizontal sight line of the transit. The higher the transit is 
placed above the water the lower the horizon will come below the 
center of the transit. 

160. Center of Vision (C.V.). — The point where parallel 
horizontal lines that run directly away from the eye appear to 
meet or vanish is called the center of vision. It is always on the 
level of the eye and exactly opposite the eye. 

Vanishing-Point (VP.). — The point at which any system of 
parallel retreating lines appears to vanish. It is in the horizon 
for horizontal lines, and above or below the horizon for oblique 
lines. It is seen by looking in the direction of the parallel lines, 
and in a perspective diagram is found by drawing a line 
from SP. parallel to the given system to intersect the picture- 
plane. 

Measuring-Point (MP.). — This is the VP. for a line that will 
transfer any distance from the picture-plane where it may be 
measured to scale, to a line that vanishes and on which the dis- 
tance will appear less than its scale dimension. MPts. are used in 
the scientific theory not explained in this book since the artist 
seldom needs this theory. 

Distance-Point (DP.).— This is the MP. for C.V. There are 
two DPts. equally distant at right and left from C.V. Their use 
will be explained. 

161. Perspective Self-Taught. — Fig. 42 represents a student 
testing a drawing on the Glass made from a skeleton cube. The 
sides of this model were 4 feet long. Two opposite faces were di- 
vided into sixteen squares by horizontal and vertical threads one 
foot apart. This model makes the theory so easy that all students 
who study from it understand the theory. You should provide 



88 



DRAWING AND PAINTING SELF-TAUGHT 



such a model for your own use. One 2 feet square will be large 
enough for individual use. 

Obtain two perfect squares sawn from three-ply paneling 
J/2 inch thick. Fasten these squares at each corner to sticks ]/g 
inches square and long enough to make the outside height 24 
inches. You may use brads or screws at each corner, also angle 



Lj i m L 



Fig. 42. — From photograph. 



irons. Be sure the ends of the four corner sticks are cut perfectly 
square. When fastened together obtain the sixteen equal squares 
by threads stretched around the model and held in cuts made with 
a sharp knife or chisel just six inches apart. Make these cuts in 
all the edges of the opposite square disks, and also in the outer 
edges of the four sticks that connect the disks. Use small tacks to 
hold the threads in place, and to transfer the thread from one 
level to another. Fine wire will be better than thread for a perma- 
nent model. 

Fig. 42 shows small circular pieces of paper which are fastened 
at the intersections of the threads on two opposite sides of the 
model. These serve as sights to enable you to place your eye 
opposite any given point. Number these sights from 1 to 9, 
placing the same number oh the opposite points. 

A substitute for this model may be made from any large wooden 
case by tacking sights on the inner surface of the bottom, and 
threads to the outer edges of the case so they will cross each other 
exactly opposite the sights that are tacked on the bottom. 

Before drawing from this model you must make an adjustable 
eyepiece or sight through which you may view the object from 
one fixed point. Nail a strip of pine or white wood 6 feet long and 
y% inch square to a base large enough to hold the rod upright. Then 
cut a hole an inch or two in diameter in a piece of cardboard 
and fasten the card to the rod with thumb tacks. To do this 



PERSPECTIVE THEORY 89 

place the model on a table or other support that will make it 
easy for you to hold your eye on the level of the center of the 
model, and then fasten the card to the upright rod so that the 
card touches the front of the model, and the central sight 5 of 
the model is exactly at the center of the opening cut in the card. 
When thus adjusted place the rod about five feet in front of the 



\ 










/ 




s 


7 a 


9 ; 










\ 

\ 

\ 
\ 

6 \ 


/ 

/ 
/ 
/ 


,HL 








si 
/ 

/ 
/ 
/ 


\ 
\ 
\ 
\ 
s 










V 2 


3 


K 




/ 








\ 



Fig. 43. 



model and with the eyepiece directly in front of point 5 of the 
model so that nearer point 5 covers the farther 5. When thus 
adjusted study the appearance of the model through the card 
until you can draw it from memory. Test this memory sketch 
by holding the Glass vertical and parallel with the model. When 
you secure a drawing which exactly covers the model viewed 
from the cardboard sight, continue the lines of the drawing which 
represent the four edges of the model that run from front to back. 
You will find that these lines meet at point 5. This is the point 
on the model that is exactly opposite your eye, and so this draw- 
ing shows that the retreating lines of the object vanish at the 
point that is opposite your eye. 

When sure about this, transfer the drawing on the Glass to 
paper by use of a T square and triangles, to any scale that will 
make the drawing 2 or 3 inches square. See Fig. 43. 

Now repeat this lesson, placing the cardboard sight twice as 
far from the model as it was for the first drawing. When the 
second drawing covers the model perfectly you will find that 
the square that represents the farther side of the model is larger 
in proportion to the nearer square than it was in the first drawing. 
The greater the distance of the eye from the model the less dif- 
ference there will be in the sizes of the squares, and the nearer 
the eye to the model the greater the difference in the squares. 



90 



DRAWING AND PAINTING SELF-TAUGHT 



When the distance of the eye from the model is known, there 
is a way to measure the length of the retreating side which will 
be explained later. In transferring this second drawing to paper 
to the same scale as the first one, you may simply make it look 
like the drawing on the Glass just as you determined the first 
drawing on paper. 

162. Avoid SP. Near a Large Subject. — Fig. 6 shows the 
distortion inevitable when the visual angles are large. Your 
eye must be two or three times the height of your subject away 
from it to avoid unpleasant perspective. Often artists paint 
when too near their subject. The queer perspective resulting 



V 








/ 


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\ 


7 8 


> 9 . 


/ 
/ 




\ 


f> s 








I 

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/ 
/ 
/ 
/ 


, H L 


, 




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3 






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Fig. 44. 



will, however, seem true when you view the picture from the 
same short distance of the painter's station-point. As distance 
is needed to appreciate tone, color, and effect, it is important 
to select a station-point that is not too near the subject. 

163. The VP. Moves With the Eye.— Now place the sight 
exactly opposite points 1 of the model and memorize this ap- 
pearance. When the drawing on the Glass covers the object 
perfectly, continue the lines that represent the retreating edges, 
and they will meet at point 1, and thus illustrate how the VP. 
(C.V.) moves as the eye moves, always being on the eye level and 
exactly opposite the eye. Repeat this drawing on paper as you 
have the others. See Fig. 44. 

164. Theory Proven on Glass. — Now apply this theory by 
making a drawing on the Glass instrumentally and to scale, rep- 
resenting the model as it will appear when the eye is opposite 
point 2 of the model. Place the eyepiece in line with sights 2 
and make the drawing. Hold the Glass as before to see if the 
drawing will cover the object. If the farther square is not made 



92 



DRAWING AND PAINTING SELF-TAUGHT 



too small you may vary the distance of the eyepiece from the 
model and finalty find a distance from which the drawing will 
cover the object. I wish you to assume the distance of the eye, 
and experiment until a SP. is found which causes the drawing to 
agree with tjie appearance, in order that you may understand 
how the appearance varies with the distance. Transfer this 
drawing to paper as you have the others. 

In the same way make drawings to scale on the Glass represent- 
ing the model as it will appear when the eye is opposite points 
3, 4, 6, 7, 8 and 9. Test each by observation through the eye- 
piece, when placed exactly opposite the given pair of sights. 
Thus you will prove how perfectly the theory enables you to 
draw the object from any given position opposite its front face. 
Transfer each drawing to paper and write neatly the statement 
of each problem. 

165. One-Point or Parallel Perspective. — The above draw- 
ings are in one-point perspective, and prove the rule, that 
all parallel lines that are horizontal, and that extend directly 
away from you, appear to vanish at a point on the level of your 
eye and exactly opposite your eye. 

Two Objects. — Support a box 12" high 24" square two feet 
above the cube form, and parallel with it, and make a drawing 
of both objects as they appear from a point centrally placed and 




HL. 




Fig. 46. 



Fig. 47. 



8" above the top of the lower object. Observe from the eye- 
piece and draw on the Glass and then test by holding the Glass 
vertical and parallel with the front faces of the objects. Trans- 
fer the correct drawing to paper by scale after observing 
that the front faces are drawn of their real shapes. Fig. 46. 



PERSPECTIVE THEORY 93 

Now place the box on the surface that supports the cube, 
with a space of 3 ft. between the two. Place the front face of the 
box in line with that of the cube and draw both objects on the 
Glass as they appear from a point midway between the two, and 
1 ft. higher than the top of the cube. Fig. 47, In testing be 
careful to hold the Glass vertical and parallel with the front faces 
of the objects, for if you incline the Glass the vertical edges of 
the objects will be represented by inclined lines. 

Vertical lines below or above the eye appear to vanish, but 
they are never so represented, for this would cause perspective 
distortion when the drawing is not looked at from its proper 
station-point. 

It is impossible to represent the actual appearance of two or 
more objects in one picture, for there can be but one C.V., and 
only the object that is directly behind C.V. can be represented 
in a perspective exactly as it appears. 

Neither object is represented in Fig. 47 as it appears to the eye 
that looks directly at it, for when more than one face of a cubical 
form is seen all visible faces must be foreshortened. Both sets 
of horizontal edges must then appear inclined to the eye that 
looks at either object. A free-hand sketch of either would then 
have two vanishing-points, but when both objects are to be 
shown in one drawing there can be but one VP. Even one object 
can not be represented as the eye sees it when it is below or above 
the eye and has vertical edges. 

166. Three Sides of a Room. — This subject demands the 
use of one vertical picture-plane, for all parts of the room can not 
be shown as they appear to the eye. The room is to be drawn 
from a SPT4 ft. above the floor and 5 ft. to the right of the 
left wall. Make the drawing on the Glass by observation from 
the cardboard eyepiece set up in the given position and as far 
as possible from the end of the room. After you have drawn 
and tested the lines of floor and ceiling add those of the doors 
and windows and then make the drawing to scale on paper. 

Make another drawing when the eye is 3 ft. above the floor 
and 6 ft. to the right of the left wall. Transfer this to paper. 

Make a third drawing when the eye is 2 ft. below the ceiling 
and 4 ft. to the left of the right wall. Test by use of a step ladder 
and transfer the correct result to paper. The theory governing 
the above drawings is illustrated by Fig. 48. 

167. Room from Measurements. — Make a theoretical draw- 
ing of a room 12 ft. high and 15 ft. wide as it appears from SP. 
5 ft. above floor, and 5 ft. to right of left wall. A door 8 ft. high 
is in each wall. A window 3 ft. above the floor to its base and 9 
ft. to its top is in both the left wall and the end wall. A cube 



94 



DRAWING AND PAINTING SELF-TAUGHT 



of 2 ft. is in left corner and a bookcase 9 ft. tall is in the right 
corner of the room. A table 23^ ft. high is in the center of the 
room. Do not copy or even look at Fig. 48 until your drawing 
is complete. Then compare it with Fig. 48. I have not stated 
the width of the doors, windows, bookcase or table or their exact 
location, and so you may have measured correctly all the heights 
I have given, and still find your drawing quite different in pro- 
portions from Fig. 48. 





the v/. Point of 45' 

MC4SUKCS LINES THAT 
GOTO CV IT 1$ MAMEO 
DISTANCC POINT (&P) 



PICTURE LINE 



Fig. 48. — Height measurements. 



You may begin this drawing on the plane of the farther end of 
the room or on that of the nearest lines in the room which are 
on the PP. In either case you must measure by the scale of the 
plane you start with, and must realize that one foot on the dis- 
tant end appears much shorter than one foot on the PP., while 
between these two planes a foot can not be measured by the 
scale used for either the PP. or the distant end and must there- 
fore be determined by a perspective scale as drawn in the upper 
left-hand corner of Fig. 48. Such a scale may be drawn and 
applied to obtain the height of the table. 

The height of the table may be best found by bisecting the 
distance from the lower end of the table leg to HL., for HL. 
is 5 ft. above the floor and the height of the table is 2J^ ft., which 
is one half of 5. 

In this way heights may be quickly found anywhere in the 
picture. In Fig. 48 a vertical line at the right shows how the 
heights of figures 6 ft. tall may be obtained by dividing the dis- 




%%*m< 



m 



Fig. 49. — From pencil drawing by Anna M. Hathaway. 



96 DRAWING AND PAINTING SELF-TAUGHT 

tance from the floor to HL. into five equal parts, each represent- 
ing one foot, and setting one part off above HL. to give the 
height of the figure (5 + 1 = 6). When the eye is 5 ft. above the 
floor any point on the floor is 5 ft. below HL., and so a scale for 
height measurements may be quickly placed at any point on the 
floor behind the PP. See the vertical near C.V. 

A pole 10 or 15 ft. high from the surface of the ground upon 
which the spectator stands with his eye 5 ft. above the ground 
may be measured by taking the distance from the foot of the 
pole to HL. wherever the pole may be placed, and setting it off 
twice for 10 ft. or three times for 15 ft. 

168. The Distance-Point. — Having assumed the scale of the 
end of the room and drawn the cube in the corner, to draw the 
table to harmonize with the cube you must remember that parallel 
lines vanish at the same point. The diagonals of the base of the 
cube and the square table must be parallel and at 45° to the 
end of the room. The cube having been assumed, you may 
continue the diagonal of its base that goes to the left, or the one 
that goes to the right, until this diagonal intersects the horizon, 
and thus determines the VP. of the parallel line the diagonal 
of the table. When you have assumed the length of the side of 
the table that is parallel to the PP., you will transfer this length 
to the side that goes to C.V. by drawing the diagonal of the 
table to the VP. in HL. located by the diagonal of the cube. 

The VP. of 45° is thus the MP. for C.V., and hence is often 
called the distance point (DP.). There are two DPts. in every 
perspective; they are in the HL. equi-distant at right and left 
of C.V. This distance is always equal to the distance of the 
eye from PP. 

The distance point is thus simply the VP. of 45° at either side of 
C. V., which enables measurements by scale on the PP. to be trans- 
ferred to lines that are perpendicular to the PP. 

Theoretically the DP. may be at any distance from C.V., but 
practically for pleasing results the DP. must be at least as far 
from the C.V. as the total width of the perspective. At a less 
distance perspective distortion is apparent, and increasingly so 
as the distance of DP. from C.V. lessens. 

169. Two-Point Perspective. — This is often called angular 
perspective because it represents cubical forms at angles with 
the PP. by use of two VPts. in HL., one at the left of C.V. and 
the other at the right. 

Place the model of Fig. 42 with its center on the eye level and 
its horizontal edges at angles of 45° with the table. Fasten the 
cardboard sight to the support so the center is on the level of 
the center of the model, and set up the rod so that with the eye 



PERSPECTIVE THEORY 



97 



at the sight the front upright of the model appears to cover the 
upright at the rear. Then observe the model until you can draw 
it from memory on the Glass. When you obtain a drawing that 
covers the model perfectly place the Glass flat on a large table, 
or platform, or on the floor and continue the lines of the drawing 
that represent the edges at 45° until they meet. Do this with 
chalk and a long straight edge or with a thread attached to a 
thumb tack inserted at the VP. The four lines that extend to 
the right will meet at one point on the level of the center of the 
model, while the four that go to the left will meet at a point on 
the level of the center of the model and as far to the left of C.V. 
as the right-hand VP. is to the right of C.V. These two points 
are the VPts. of 45° (the DPts.) of Fig. 48 which enable you 
to measure distances on lines that vanish in C.V. They do not, 
however, enable you to measure distances on the lines of the 
model that are at 45°. To measure these edges at 45° you must 



DP ~~ ~ : =-- 



Fig. 50. 



find the MPts. for the 45° VPts., but this involves the science 
I wish you to avoid until you can draw as artists do by eye with- 
out theory to aid you. 

Transfer the correct sketch to paper instrumentally and make 
it look like the model by eye, or by determining the proportions 
of the sketch on the Glass. See Fig. 50. 

Make and test as above another drawing of the model when 
your eye is on the level of the top of the model, and then transfer 
this result to paper to show that the VPts. will be equi-distant 
from C.V. and on the level of the top of the, model. 

Make another drawing with the SP. on the level of the 
lower face of the model. Test this and transfer it to paper to 
show that the VPts*. are equi-distant from the center of the 
model and on the level of its base. 

170. The Cube at 30° and 60°.— Turn the model until its 
horizontal edges that extend to the left are at 30° to the front 
edge of the table that supports the model. Those at the right will 
then be at 60° to the table. Adjust the cardboard sight so it 
is on the level of the center of the model and exactly opposite 
the nearest upright and then memorize the appearance visible 



98 



DRAWING AND PAINTING SELF-TAUGHT 



through the sight. When your drawing on the Glass will 
cover the model perfectly place the Glass flat on a large drawing 
board or on the floor and continue its lines as already explained 
until they meet. The four that vanish to the left will meet in 
one point on the level of the center of the model, and the four 
that vanish to the right will meet at one point on the level of the 
center of the model and at the right of C.V. This point will be 
much nearer to C.V. than the left-hand VP. The right side of 
the model appears much narrower than the left side. The pro- 



V?30* -_~= *-=---- 



£VZ_. 



■~- -T:;-_ vP< 



Fig. 51, 



portion is, however, not 1 to 2, and the left VP. of 30° is much 
more than twice as far from C.V. as the VP. of 60° at the right. 
Of course these VPts. and the widths can be measured exactly 
by the science of perspective, but this we do not wish to study 
at present, so you may transfer this sketch to paper, making it 
of the proportions of the one on the Glass, and small enough for 
the VPts. to come on the paper. Fig. 51. 

As the cube is turned away from its position of 45° (Fig. 50) 
one side makes an angle greater than 45° and the other side an 
angle less than 45° with the PP. The VP. of the side at the 
greater angle approaches C.V. while that of the side at the smaller 
angle increases its distance from C.V. Continue to turn the 
cube until one face is parallel to the PP. and the lines of this 
face cease to vanish, while the VP. of the other face merges into 
C.V. and is the only VP. of the drawing. Fig. 52 represents 
objects at various angles with the PP. 

171. Three-Point or Oblique Perspective. — Edges that are 
not parallel with the PP. appear to vanish, and so when none 
of the edges of a cube are parallel, it must be represented by 
lines that vanish in three VPts. Such a drawing is said, to be 
in oblique perspective, and not more than one of its VPts. can 
be in the horizon. When one set of edges is horizontal with its 
VP. in HL., another set will vanish above HL. and the third 
set will vanish below HL. and also below the VP. that is above 
H.L. Fig. 53. 

The cube is not in oblique perspective when its edges are at 
an angle with the ground and parallel with the PP., for in this 








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' 






^HR~. ..8 


m ' ' 




PW- 


/.X. « 






2 k 





*i 



Fig. 52. — First-year examinations. 



100 



DRAWING AND PAINTING SELF-TAUGHT 



case there will be only one VP. (C.V.). The edges parallel with 
PP. will be represented by parallel lines at their real angles 
with the ground. Fig. 54. 

172. Many VPts. in One Drawing. — Fig. 55 shows several 
books at different angles with the PP. Fig. 56 is a reduced- 




Fig. 53. 



Fig. 54. 



scale drawing that brings all the VPts. upon the page. There 
might be other objects in oblique positions in the group, and 
thus it is possible for every new object to add two or three VPts. 
to the drawing. To determine these VPts. and their MPts. re- 



. mfrixato 



<ul — - - , ,.:■_: „ =] 




Fig. 55. — From photograph. 



quires a thorough knowledge of descriptive geometry as a basis 
for the study of the science of perspective. With such knowl- 
edge it is possible to determine not only every VP. but to meas- 
ure exactly every distance on even all the oblique lines. Cast 
shadows by sunlight and lamplight and reflections in mirrors 



PERSPECTIVE THEORY 



101 



may also be exactly determined, but this is the pure science the 
artist seldom needs, and so the only explanations I will give re- 
late to the simple problems of the artist. 

173. Book in Oblique Perspective. — Place a book flat on a 
table with its cover raised at any angle. Draw the book on the 



ILL 



v L 



Fig. 56. 

Glass and place the Glass, with the correct drawing, flat on a 
table or the floor so that you may continue all its lines until they 
vanish. 

Retreating lines always vanish in the direction of their farther 
ends. The visible side of an object must be nearer the eye than 
the opposite parallel and invisible side, and so you will find the 
lines of a correct sketch converging as they approach the invisible 
surfaces of the object. 




Fig. 57. — From photograph. 



The horizontal lines of the ends of the book vanish at a point 
in HL. The oblique lines will vanish at a point directly over 
this VP. in HL., Fig. 57, but if you look at this book from the 
opposite side the inclined lines will vanish at a point directly 
under the VP. in HL. 



102 



DRAWING AND PAINTING SELF-TAUGHT 



Fig. 58 is a reduced scale drawing that places the three VPts. 
on the page. 

174. Fig. 59 shows how the book will appear when its long 
edges are parallel with the PP. The short edges that are hori- 
zontal then vanish at C.V. while the inclined lines vanish just 
over C.V. 

175. Theory Injures the Beginner. — These drawings on the 
Glass, if carefully made and studied, will make clear the practical 
points that the artist needs, also all that the teacher of elementary 



■i*^ 




Fig. 59. 



Fig. 58.] 



classes should teach. It is a serious mistake to begin with theory, 
especially the scientific. It was many years before I proved this 
to my own satisfaction by deferring theory each year a little 
longer, and finally until practice without any theory had given 
the entire class the power to draw by eye alone with professional 
skill. I then found that the study of theory caused all students 
to lose power in drawing from objects, and that it was a hard 
struggle for many to regain reliance on vision. When the Gram- 
mar School gives real visual power this difficulty may not con- 
tinue, but as long as art students must begin visual training and 
theory at the same time there is little chance of their gaining 
real visual power quickly. 

176. Theory Necessary for Teacher. — It is impossible to 
teach advanced classes without finding some students who are 
able to study theory and who insist on doing so. If a teacher is 
not able to aid such students he must hurriedly begin to study 
the science, or admit his ignorance. Therefore if you wish to teach 
in High or advanced schools you are advised to finally study the 



PERSPECTIVE THEORY 



103 



science of perspective, which you will find in many excellent 
books. 

Students who wish more on the subject of Free-hand Perspec- 
tive Theory will find it in the book of this title by the author. 




From photograph. 



Chapter VI. 

DRAWING NO MORE DIFFICULT THAN OTHER 
SUBJECTS. 

177. Grammar School Examinations. — The general belief 
that drawing from nature is so difficult that it should not be 
attempted in the Grammar Grades has not deterred occasional 
teachers from securing splendid class results, even by the old 
methods. Such instructors prove that real drawing can be taught 
when the teacher possesses so great a love for art and for teaching 
that the hard work involved is forgotten in the final success of 
independent effort and real power. 

Any one who has seen good class results gained without the 
use of the Glass finds it easy to believe that the grade teacher 
without special training or ability can obtain such results as 
are shown by Figs. 60, 61, 62 and 63, if only the Glass is used 
in the right way. 

Fig. 60 shows the results of a half-dozen lessons on the Glass 
in a class that had never before used the Glass. The seven pupils, 
whose work before and after use of the Glass is shown, made the 
greatest gain, but all the pupils gained in marked degree. 

Fig. 61 reproduces the work of an entire class of Grade VI and 
was done under the direction of a grade teacher. Many of these 
drawings will seem very poor to those not familiar with public 
school results, but in spite of their defects, this Grade VI work 
is better than that of a large percentage of Art School students 
just graduated from the High School. This will appear upon 
study of Figs. 64 to 71 inclusive. 

Figs. 62 and 63 reproduce the best and the poorest drawings 
in examinations given by the grade teachers in Grades III and IV. 
In these low grades as in the higher, 75% of the pupils succeed 
as well with drawing as with other subjects, and thus prove that 
there is no need of depriving young pupils of the pleasure and 
profit which come from truthful study of drawing. Some pupils 
do better in drawing than in other studies, and they need the 
stimulus of this success to help them with more difficult subjects. 

178. Art School Methods. — Those familiar with Art School 
students expect the few to succeed and the majority to fail even 
in the alphabet of art, therefore, the gain made by every student 
in a class of thirty-four will be of interest. 




M.H. 


Mar.-I5. 


D 








J.K «•»«-«. 





BEFORE USING 



Three hours' use of 

Drawing Glass in 

Grade VII. accounts for 

the gain. 



Drawings on same 
level are by same pupil. 
Those at left before use 
of Glass, those at right 
after Drawing on Glass 
in place of paper for a 
month. 

Glass was not used for 

right-hand drawing and 

no aid was given by 

teacher. 

Glass was not used in 
lower grades. 



This method enables 
average grade pupil to 
excel graduates of high 
school not thus taught. 



A set supplies several 

rooms, lasts a lifetime 

and reduces bills for 

paper and books. 



Not an aid for picture 
making but for the per- 
fect vision that needs 
no measures or tests. 



Fig. 60. 






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B.R 


< 

Apr-IS 


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95 



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AFTER THREE HOURS' USE 



EXAMINATION GRADE VI. ALL THE PAPERS. 



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1 U 



1 1 



- - . . . - i 



i 

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Fig. 61. — The class of twenty-four pupils had used the Glass before this lesson, 
also in lower grades. These drawings were made directly on paper, the Glasses 
not having been distributed. A paper model was on each desk. No assist- 
ance was given by drawing on the blackboard, or for students, or by telling 
them what to draw. Erasers were not used. Though many drawings are 
imperfect the set proves that object drawing can be taught in low grades. 



EXAMINATION GRADE III. 






Fig. 62. — The best and the poorest drawings are reproduced. They were drawn 

directly on paper with the aid of the Glass used only as a finder, as shown in Fig. 

75. The Cross crayons were not used. No assistance was given by drawing on the 

blackboard, or on the papers, or by*pointing out mistakes. 



EXAMINATION GRADE IV. 







Fig. 63. — The best and the poorest drawings are reproduced above. They 
were drawn directly on paper, the Glasses being used as finders. Each pupil 
brought any kind of a small dipper and placed it at the back of the desk. No 
assistance was given by drawing on the blackboard, or on paper, or by point- 
ing out mistakes. 



FRESHMAN EXAMINATIONS 

September 28, before use. 



q (l 



> 



u 



#^PI 




November 30, after use. 



SM w 



i'S h/o^39->S\ 



Fig. 64. — Gain made in nine weeks, 




110 



DRAWING AND PAINTING SELF-TAUGHT 



When I first began to teach, I used to work a little upon my 
students' drawings or at least suggest ways in which they could 
be improved. At the end of the year I could show only the re- 



H I 




V •' '£- 



S eat 24 « 



u 






B 



m 





'Mj/mlQ-'s- 



Fig. 65. — Freshman examinations. Those at the left were made on enter- 
ing. Those at the right were made nine weeks later. The two lower 
students were the best prepared. 



suits of the few talented students, and knew that the work was 
not a true index of their power. 

Gradually, I found ways to substitute for my own vision that 
of my students; and, finally, I refused not only to draw for them, 



DRAWING NO MORE DIFFICULT THAN OTHER SUBJECTS 111 




but to tell them how to 
make corrections. Then the 
results improved, and when 
I called for many self-cor- 
rected quick sketches in 
place of a few long finished 
efforts, the gain was so 
marked that I began to ex- 
hibit the work of every 
student in the class. 

179. Art School Exami- 
nations. — Figs. 64 to 71 
inclusive show the work of 
a class of thirty-four, both 
upon entering and nine 
weeks later. In the case of 
a few students who were not 
present on September 28 
or on November 30, other 
drawings are shown. Fig. 
64 compares the entrance 
examination with one made 
nine weeks later by five 
pupils who were poorly pre- 
pared. The drawings on the 
same level are by the same 
student. 

Fig. 65 reproduces the 
work of four other students. 
The two that made the up- 
per drawings were poorly 
prepared, while those who 
made the two lower were 
the best students in the class. 

All studied free-hand per- 
spective ten hours each 
week, used the Glass about 
five hours per week, and 
made quick sketches on 
paper the rest of the time. 
These they corrected by use 
of the Glass and a thread 
as explained in Section 54. 
Figs. 66 to 70 inclusive show the work of the twenty-five students 
who, upon entering, did neither the best nor the poorest work. 



3 


~S'- 


30 - 











4 -■ - 




V'-- - 








' ~ : -:7tf ' 










'Nrp 


if/j 


1 

/• 

k. 


\ 

v 




\ K 


-> 


i 




:_ 


J -•-' 


J^-st. 




J 11 


»T*«I J| | 


[ 






^45m 


\_, 




1 hr. j 



Fig. 66. — The left-hand drawing under 
each number was the entrance examina- 
tion. The right-hand drawing was made 
nine weeks later. 



112 



DRAWING AND PAINTING SELF-TAUGHT 



It was impossible to find 
drawings made on the same 
date and in the same time 
by all the students, but com- 
parison of the two drawings 
by each student will show 
not merely better drawings 
but the power to do more 
in a given amount of time 
after use of the Glass. 

The faults in perspective 
in the first seven drawings 
are apparent at a glance. 
Those in many of the other 
entrance examinations are 
not so easy to see. How- 
ever, careful comparison of 
these drawings will prove a 
general and nearly equal 
gain by all. 

I regret that I can not re- 
produce a set of five-minute 
sketches made at the end of 
the year from the same 
chair and table upon which 
forty - five minutes were 
spent in September. If the 
iive-minute sketches were 
strong enough to reproduce, 
they would show that nearly 
all these students were able 
to sketch true perspective 
and true proportions in five 
minutes, without the aid of 
the Glass or any other test. 

Fig. 71 shows the gain b}^ 
the student who made the 
poorest drawing and who 
at the end of the year did 
none of the best work. The 
middle sketch, however, 
shows ability to give visual 

proportions and perspective for four objects in ten minutes. 
The street scene, though it was almost the first effort from such 
a subject, shows some power to use the eyes out-of-doors. When 




Fig. 67. 



-The gain made in 
by five students. 



nine weeks 



DRAWING NO MORE DIFFICULT THAN OTHER SUBJECTS 113 




15 



IMR 



30 mi 




Fig. 68. — The gain made in nine weeks 
by five students. 



without assistance, they 
had given this power. 

181. Vary Method and 



were 



compared with the entrance 
drawing, much gain is ap- 
parent in spite of defects. 

180. Gain Without The- 
ory. — The improvement 
made in nine weeks was not 
due to study of theory, for 
this was not begun till 
December when, for the first 
time, the pupils were told 
and made to prove that 
parallel lines appear to van- 
ish at a point. The gain 
made was due equally to use 
of the Glass and to artistic 
methods of making quick 
sketches on paper without 
use of pencil measurements. 

During the first month, 
the sketches were done in 
about five minutes and 
often less time. In the 
second month, the time 
given was from two to ten 
minutes. The third month 
included fifteen-minute 
sketches, and the sketches 
of the fourth month took 
from a half-hour to an hour 
and a half. After February, 
most students were able to 
dispense with the Glass and 
draw by eye alone with pro- 
fessional accuracy. 

These students were com- 
pelled to work in outline 
alone, for my teaching was 
confined to this medium. 
This long drill was tiresome 
but when the students dis- 
covered that they could 
make interesting sketches 
thankful for the training which 



H hrs. 



Medium. — There is no reason for 



114 



DRAWING AND PAINTING SELF-TAUGHT 



confining beginners to out- 
line or to any other medium, 
for all are useful to the ar- 
tist. Students should have 
before them photographs of 
sketches in all mediums and 
methods done by the artists 
of the past, and they should 
be encouraged to make simi- 
lar studies. 

Students should, from the 
start, study in outline, but 
occasionally sketch in val- 
ues or in color to increase 
their interest in the outline 
drill. They will understand 
the necessity for this when 
they find that right use of 
the Painting Glass takes 
away the difficulties in study 
of values and colors to such 
an extent that power to 
paint depends principally 
upon ability to draw. 

First-year students can 
do good work in outline, 
light and shade, and in color 
if they are willing at the 
start to work faithfully upon 
uninteresting subjects, even 
as the student at the piano 
labors long and hard upon 
the necessary finger exer- 
cises. 

The question of what to 
write to fill up the text of 
this page and the next was 
answered as it was asked 
by a friend whom I had not 
seen for years and who 
wanted to examine the 
Painting Glass 




1 tm ft 

■ 40 ml n '' 


8 s d ! ^ 


1 


' 


/ l\ I 

1 lui 

\0ct,fi. 30 mm 


=1 


■ \ \ ' ■ -nil 

If l» NoyJS 30 m. \ 



Fig. 69. — The gain made in nine weeks 
by five students. 

as soon as I told him about it. After short 



study of outdoor and in-door effects through the lenses, he 



DRAWING NO MORE DIFFICULT THAN OTHER SUBJECTS 115 





21 


i i'^f 


\ 


lip 





i 1 

L 


~ "7" f / 




111 


| 




30m | 


^ lUn. 






Fig. 70.- 



-The gain made in nine weeks 
by five students. 



said that they showed him 
more color than he had 
ever seen before, and 
he asked to have the Glass 
for his own use, saying that 
the painter who would not 
find it helpful must have 
queer ideals. This artist 
was noted thirty years ago 
for his fine color sense, and 
I state this incident to en- 
courage the student to rely 
on the lenses as long as he 
is in the student class. 

As this painter left me 
he said, "Be sure to make 
your book emphasize the 
fact that the problem of 
becoming an artist is not 
made easy by this Glass. 
True vision at best is only 
the means to command of 
the alphabet that makes art 
expression possible. The 
student who has gained true 
vision has taken only the 
easiest step. After this step 
is taken, to produce art he 
must forget all rules, theo- 
ries, and formulas, and go 
to nature for the notes and 
inspiration that may enable 
him to produce a 'handsome 
picture' that is his own in- 
terpretation and his own 
expression. To do this re- 
quires the creative power 
of the artist. It is beyond 
that of the mere copyist, 
and the power of the 
schools to teach." 



$eptie->s. 



Sketches by the same freshman. 



r ~-~ , 



%-z 



± 




*** -J u f **•-- „.: 

Examination, September 28. 



. :-, 



p 8 !^^' 



■ oy-s-xa 



Examination, November 30. 






^- 



10-minute examination, June 



■ \w 



1 " A 1 






!: 8 
i 



30 mnhBteS.. 



■ ilpllli f 



'June 1 1. if-j_ 



Half-hour examination, June. 
Fig. 71. 



Chapter VII. 
DRAWING IN THE PUBLIC SCHOOLS. 

182. The present condition of drawing in public and ele- 
mentary schools was clearly stated in an address on "Blind Alleys" 
delivered by Leslie W. Miller, in April, 1917, and printed in the 
report of the eighth annual meeting of the Eastern Arts Associa- 
tion. Lest it seem that I am making unwarranted statements I 
wish to quote part of this address. 

Blind Alleys. — " Now while the new educational schemes doubt- 
less represent a great deal of admirable ingenuity, I am afraid 
they are apt to contain just such seeming, or pretending, short 
cuts which are only blind alleys after all. They undertake to in- 
struct a pupil straight into the field of knowledge which he particu- 
larly desires to explore and even hold out a more or less definite 
promise to train him for the vocation which at the mature age 
of fourteen he has decided to make his life work. . . . 

"For my own part I feel very sure that it has been greatly 
overdone already. Indeed, so much so that I sometimes wonder 
whether the introduction of the kindergarten idea into our edu- 
cational system has not done more harm than good. Of course, 
it sounds very much like heresy to say anything against so 
beneficent an institution as the Kindergarten. . . . 

"But the methods which it relies on have sometimes been 
taken too seriously by teachers and by being carried into fields 
of activity for which they are not adapted, they have to a con- 
siderable extent introduced an element of triviality into the work 
of the grades, and have lowered the standards of such forms 
of educational endeavor as are essentially disciplinary in 
character. 

"What are we to make of this epidemic of insanity that has 
struck so many apparently well-meaning, sometimes fairly well- 
trained artists. . . ? 

"Strange things have been done in the name of art and she 
herself has been held responsible for some pretty dark deeds at 
one time and another, but certainly nothing like this has ever 
happened to her before. 

"Well, cubism, post-impressionism, futurism and what not, 
are only so many blind alleys into which poor misguided art, in 
search of short easy cuts instead of the perfectly well-known 



118 DRAWING AND PAINTING SELF-TAUGHT 

but arduous path which she has followed since the foundation of 
the world, has wandered and got lost — that is all. . . . 

"And now for the way out. . . . Now right tendencies in ele- 
mentary education are concerned with fundamentals and with 
fundamentals alone. The higher education may specialize all 
it likes and as a matter of fact when it gets to be really high it 
will of necessity specialize very narrowly but to allow the special- 
izing methods of post-graduate university work to set the pace 
for the work of the grades, or even for the ordinary high school, 
is as fatal a mistake as the invasion of these same precincts by the 
methods of the kindergarten has been shown to be. 

183. "In all creative work — whether constructive or decorative 
does not at all matter — the really fundamental thing and the one 
that links it up with the whole field of general educational effort, 
is the study of design. But design is drawing properly under- 
stood and applied, only this and nothing more. All applications 
and developments of this creative purpose, in whatever material 
or by whatever process the ultimate expression is attained, de- 
pend first and mainly upon ability to draw, and the true test 
to be applied to all schemes to get variety and interest and im- 
mediate profit into or out of our courses of study amounts in 
the last analysis only to this, — is the pupil really learning to 
draw and to understand and accomplish the things to which a 
knowledge of drawing is the key? Now it is of no use to say that 
all this is well recognized and may be taken for granted as in 
operation practically everywhere already. We know very well 
that it is not. On the contrary we all know only too well that 
honest, solid work in drawing is very much at a discount; that 
it has far too often given place to playing with colors and having 
fun with make-believe art in the common schools, and that even 
in the art schools themselves it is often woefully neglected and 
sometimes openly discredited. I have heard its utility, and even 
the need of teaching it at all, seriously questioned by the head 
of one of the, potentially at least, greatest technical schools in 
this country, on the ground that designs could be concocted 
pretty well by means of tracings and photographs; of scissors 
and paste-pots, etc. And that possibly the time and effort that 
the effective study of drawing calls for could be more profitably 
spent in other and easier ways. And I am sorry to say that 
while this statement of the case by one in high authority is rather 
exceptional in its shameless frankness, the attitude of mind which 
it indicates is by no means an exceptional one, as most of us would 
like to think it is. There are far too many evidences all around 
us of the kind of searching for easy ways and short cuts for some- 
thing that will pass muster in the way of attainment, that this 



DRAWING IN THE PUBLIC SCHOOLS 119 

kind of underestimate of disciplinary work implies. For drawing 
means discipline, just as all real study does, whatever the field in 
which it is employed; and when it ceases to have value as in- 
tellectual discipline, it ceases to deserve the place which the pres- 
ent generation of teachers, more strenuously than any of its 
predecessors, has claimed for it. Let us get back, then, to the 
fundamentals of drawing properly taught as that form of mental 
discipline most directly related to creative effort and industrial 
endeavor. Let the childish playthings, the amusing theories 
and the easy substitutes for earnest study go. Do not delegate 
to the kindergartener, to the half-baked psychologist, or to the 
theorist in pure design, in color or in anything else the work 
that can only be done by the man or woman who knows enough 
about drawing to adequately recover the truth about things 
as they are and has power to visualize in advance things as they 
ought to be. Stick to that principle and the way out of our 
present muddle will not be hard to find." 

184. Walter Smith's Books. — The drawing books designed 
by Professor Smith were intended to give every graduate train- 
ing in the elements of Art, Design, Free-hand Drawing, Historic, 
Ornament, Perspective, and Working Drawings. They were in 
harmony with the general effort of that period to study the funda- 
mentals instead of striving for interesting but superficial results. 
Many text-books of that period involved hard work for both 
teachers and pupils instead of that superficial pretence which, 
in the words of the New York Board of College Entrance Exam- 
iners, ''actually tended to degrade the taste and to blunt rather 
than to sharpen the observation of the pupils." Section 266. 

Though Professor Smith and other authors of drawing courses 
refused to substitute superficial display for an honest founda- 
tion, there were publishers eager to supply the demand for in- 
teresting results not based on honest study or real power. New 
drawing books were published frequently, but gradually their 
sales decreased when it was found that their use did not give 
graduates the power to draw. Then their publishers decided 
that they had made a mistake in trying to teach object drawing 
in the Grammar School, for they considered that only a few stu- 
dents would become artists or use drawing in their life work. 
The publishers claimed that the study of design should take the 
place of object drawing because all students would benefit by 
the study of art and design. This decision being made, the books 
that were not in harmony with it were discarded and new ones 
published which increased the time given to study of art and 
design and decreased that given to object drawing and to in- 
dustrial drawing. 




Fig. 72. — From pencil sketch by Anna M. Hathaway. 



DRAWING IN THE PUBLIC SCHOOLS 121 

185. Publishers* Methods. — When the decision was reached 
that object drawing would benefit only the few who would use 
this power in their profession, every influence was exerted to 
substitute for object drawing the stuoV of art and design. Com- 
petent artists and teachers in the leading schools were forced to 
give place to those who would support these new views of the 
slight importance of free-hand drawing, and gradually the study 
of this subject in the Grammar School has ceased. In the 
High School drawing is now generally optional. When studied 
at all the effort has often been more for display, than for the 
basic principles prescribed by Walter Smith. As a result 
of neglecting drawing for many years, even the talented students 
who enter art schools are seldom able to represent simple objects 
correctly. 

This unfortunate result is due to the fact that the artist has 
not been consulted or considered if his views favored the old- 
fashioned drawing instead of the courses published in drawing 
books one of which is to be used each term by each pupil in each 
grade. 

Though these books are not now as generally used as in former 
years when publishers were influenced by possible profits more 
than by such educators as Walter Smith, still the control of art 
education to this time has been by the publishing firms who 
have made it profitable for teachers to follow the plans of the 
text-books, even if they have not bought them yearly for use in 
the grades. 

Text-book publishers are not only directly responsible for many 
bad methods and inartistic copies, but also for the unwillingness 
of other publishers to bring out competing books even when they 
have been better. The sale of books and materials has not de- 
pended upon their merit so much as it has on the ability of pub- 
lishers to compete with the political methods of the firms that 
have controlled public opinion. 

186. Art School Control. — Text-book influences have been 
considered paramount in many important schools In colleges 
and normal schools methods have changed with those of the lead- 
ing text-books. This may seem natural and right until it is real- 
ized that the artist would substitute blank paper for most of 
the pictorial copies and would seldom permit the study of art 
theories to take the place of that training of eye and hand which 
is given by drawing from objects and from nature. 

187. No Fashions in Art. — There are few new and good 
methods in drawing, for the masters of the past have furnished 
the best that can be given. Artists have always drawn in one 
way, and Michael Angelo recorded this way in a drawing lesson 



122 DRAWING AND PAINTING SELF-TAUGHT 

that can not be improved. This lesson is reproduced by Fig. 12 
and represents a female figure by three drawings. The first one 
shows the light touches of the blocking-in lines, and the next, a 
little stronger, gives a little more detail. The upper drawing 
is still more complete. In the original a fourth sketch is seen at 
the left, so faint that it does not appear in the reproduction, and 
this makes the lesson more complete by showing the delicate 
way in which an artist begins his sketch with the faintest sug- 
gestion possible to make of its principal masses. In spite of this 
perfect lesson given so long ago and repeated by the practice of 
all the masters, few graduates of the High School who enter an 
Art School even know how to begin to make a sketch. Instead 
of sketching lightly the action and proportion as all artists begin 
to work, students generally begin with details and make mechani- 
cal drawings, finishing the parts one at a time. Thus they prove 
how the influence of the publishing firms has placed unwise 
emphasis on theories and technique and been so harmful that 
students who have never studied drawing gain much faster than 
those who must overcome the influence of bad instruction in 
the public schools before they can begin to profit by an artist's 
instruction. 

188. Control of Teachers.— College degrees are now given 
for courses that do not involve more than from six to ten hours 
of drawing and painting each week. A degree after such limited 
studio practice can not mean much power as an artist except in 
the case of artists who wish the degree for its assistance in gain- 
ing a position and who enter able both to draw and to paint. 
Unfortunately the drawing teacher has needed a degree or the 
assistance of a text-book firm in obtaining a position to teach 
even more than he has needed power to draw and paint from 
nature. 

189. Teachers Overworked. — Teachers of much native abil- 
ity fail to overcome the bad training they received in schools 
reflecting text-book influences, because they are subject to the 
propaganda of the text-book firms even if not indebted to them 
for their positions, and because their school duties often require 
all the hours in a week not demanded by the need for food and 
sleep. Teachers are often equally busy during the periods sup- 
posed to be vacations. Thus overworked drawing teachers 
have neither the time nor the strength to draw and paint, even 
when such is their chief desire. 

190. The French Method. — This does not happen in Paris, 
where it is understood that only the teacher who is creating is 
able to give the best instruction. It is the custom in Paris to 
appoint as teachers of drawing only those who are actually pro- 



. ■:;'.' '- .. ■,, 


, v ,5^#f 




* pr 




ii- ■ 











Pig. 73. — Grade IX. Lead pencil drawings from stuffed specimens. 



1^4 DRAWING AND PAINTING SELF-TAUGHT 

ducing for at least two days each week. If we could be equally 
sensible and pay the drawing teacher a living salary for teaching 
not more than four days a week we would avoid the present 
waste of time and money. 

191. The artist is the best teacher for advanced students 
largely because he has faith enough in himself to refuse to be 
misdirected by foolish methods and popular fads, even when 
they are presented by text-books and supported by the many 
teachers who are influenced by publishers. The artist until 
very recently has believed in study of nature and has insisted 
on exact and truthful representations of nature without placing 
emphasis on the medium or technique employed. Those artists 
who have departed from the traditions of the masters so far as 
to cease to value good drawing, construction, and color do not 
aid the cause of art by teaching. On the contrary they injure 
it by sanctioning the dishonest methods that have grown out of 
the desire of the publishers to sell books, and the effort of teachers 
who are not artists to furnish principles, steps, and methods 
more complete than any directions for teaching that have been 
left us by the great masters. The best painters have been busy 
producing while teaching and writing has seldom been attempted 
by those competent to express the artist's viewpoint. 

192. Different Methods in Different Schools. — The work 
in public schools is very different from that in art schools and 
demands many and exact directions for securing truthful object 
drawings. Probably no great painter could give these directions 
successfully even if he could be induced to attempt it. There- 
fore instruction in the public schools and in .elementary schools 
must often be left to those who are not artists. The problem is 
to give the needed directions in a way that shall not destroy the 
individuality of students or teachers and thus cause the work to 
become more mechanical than artistic. This problem can be 
met only by confining the directions to matters that relate to 
vision and subjects to be studied more than to steps, stages, and 
the technique of the drawing. 

If I had taught in the Grammar Grades I would have given 
the same directions that my sister has given, for I have found an 
occasional student in the art school who has needed to make a 
tracing of an object in order to understand how to test a drawing 
made on the Glass. In the Grammar School such students will 
be found often, and so a few lessons in tracing are wise. 

There is not time in the Grammar School for the long practice 
needed to perfect vision without thought of theory, therefore 
it is wise that each pupil should discover by use of the Glass 
the essential theories as Miss Cross has directed. 



DRAWING IN THE PUBLIC SCHOOLS 125 

193. Full Pay for Four Days. — Directors and special teachers 
of drawing not including mechanical drawing, should have two 
days each week for study and studio practice and should receive 
pay for full-time service. They should not be required to be pro- 
fessionally engaged when not teaching, as this might prevent 
the employment of some of the best teachers I have ever known 
who have not cared to draw and paint, but have been successful 
because they forced their pupils to make their own observations 
and their own drawings, having proven that good results are 
impossible as long as the pupils must rely in part on the teachers' 
eyes or hands — born teachers if not born artists. 

The class room and other duties of the teacher of drawing and 
painting in the upper grades and the High and Technical Schools 
should not be more than can be done in four school days. Art 
can not be well taught until teachers have at least two days each 
week free for studying, planning, visiting other schools, rest, 
recreation, or art work as they may desire. Vacations and es- 
pecially the summer one should be free for travel and art study. 

On the basis of this claim it might be said that all teachers 
would appreciate this allotment of time, but it is to be remem- 
bered that the artist is the creative mind and time must be 
allowed in which to create. 

194. Nature is the best teacher, and art students who study 
her honestly are better off with so little instruction that I refrain 
from stating the time needed per week or month. The practice 
of the best art schools should be considered the world over, and 
all should realize that the inspiration and experience of the best 
artist, if obtainable only at long intervals, are far more valuable 
than instruction all day and every day that relates to technique 
and finish more than to action, proportion, sentiment, color, 
values and tone. 

195. An art school student can work without supervision 
when public school classes can not do this. It will be difficult 
to quickly train the grade teachers so that they will need less 
assistance from the special teacher of drawing, and it is a problem 
how to arrange matters so that the drawing teacher's work may 
be as fully completed in four days as it is now in five. 

Possibly when the full benefit is gained from the use of the 
Glass and new plans and courses, a day may be saved. If not, 
some way must be found to relieve the drawing teacher. Drawing 
can not be well taught by artists who are so overworked that 
they are unhappy both mentally and physically and who have 
no time in which they may draw and paint. 

If the public understood that the French method, or some 
other plan that frees the drawing teacher from full-time service 




f^d, 





Fig. 74. — Grade IX. Lead pencil drawings from stuffed specimens. 



DRAWING IN THE PUBLIC SCHOOLS 127 

is absolutely necessary if good instruction is to be given, the way 
to do this would be speedily found. America's mistakes are due 
to ignorance. But this nation will finally insist upon having all 
that is best in education. 

196. Requirements Repel Artists. — The artist refuses to 
teach now because he can not practice his art, but if he could 
give less than all his time to the public schools, young artists 
of great ability would gladly teach, and the unsatisfactory condi- 
tions now prevailing would give place to honest study and success- 
ful results. 

When the drawing teacher has been as free in America for a 
few years as in Paris, art ideals, standards, and methods will 
become sane and effective in all Normal Schools and Universities, 
and an impetus will be given to art education that it has never 
known. The inspiration of the artist and of nature study will 
then supplant copies that are often mechanical, and theories 
that fail to interest or profit young pupils as much as would their 
discovery through personal experience in drawing from nature. 

197. Education Involves Work. — The idea that students 
should be interested and avoid work is not a recent one, and as 
shown by the following extract from a book written in 1847*, 
its results in the last century were identical with the inefficiency 
of the graduates of today. 

"Children ever eager for change readily clamour for new copies. 
Certain teachers believe it increases their interest and enthusiasm 
if they give in to their whims, but this is a serious and lamentable 
mistake. For as his importunity has won him one new copy the 
child soon clamours for another, and so recoiling from the slight- 
est difficulty, he never really masters any of his tasks and will 
always remain in his original state of ignorance." 

198. Copies. — Much copying must be condemned when done 
for exhibition in place of nature study, but a little copying is 
desirable after some ability to do original work has been gained. 
Copying straight and curved lines, geometric forms and historic 
ornament in outline should be part of the work in every grade 
until perfect results are gained. 

After students have drawn from circles, a few copies of perfect 
ellipses may be drawn. After drawing any solid, as the cube or 
cylinder in many positions, copies of perfect outlines of the solid 
may be made. A copy of a charcoal drawing, or one in water- 
color monochrome may be made after several have been drawn 
from nature. In the same way a copy in color may be reproduced 
in color, after some study from nature in color. 

It is better to omit all copies except those in outline unless 

* "Training the Memory in Art," by L. De Boisbaudran. 



128 DRAWING AND PAINTING SELF-TAUGHT 

the reproductions are good, and from originals whose technique 
is satisfactory. Many examples for copying are of the worst 
possible technique, and before making use of printed copies they 
should be proven good. 

199. Apparent Technique is Bad. — The test of good tech- 
nique is given by the question — does it make you think of nature 
or of the medium, or its technique? A good picture tells its 
story without any thought of its handling. Any picture which 
causes you to think first of its technique is bad. To select prints 
in values or color for copies use the lenses as explained in Sections 
73 to 78, first setting up the group represented in the proper light. 

It is not necessary to do this in the case of many prints which 
at a glance make you realize that their technique was the chief 
thought of the draftsman who made the original. Thus for many 
years the fact that the line plate mUst be made from a drawing 
composed of separate lines rather than of tones, has led to the 
publishing of prints in which the lines of shading are so far apart 
and so mechanical and false as to be absurd. The student should 
avoid all questions of process and special technique until his 
eyes are true for form, values, and color. 

200. All Should Study Drawing. — It is a mistake to believe 
that drawing will benefit only the few who are to use it profes- 
sionally, for, more than any other study, it develops the percep- 
tion and the reason and increases brain power, but of greater 
value is the spiritual growth that comes from honest art study. 
The artist feels that life has more beauty and happiness for him 
than for the majority who are not able to see beauty or experi- 
ence the pleasure of embodying thought and action in their 
work. Education should relate not alone to the material but in 
some degree at least to the spiritual, that we may avoid the 
narrowness due to specializing and technical training. Every 
student should have at least the elements of a liberal education, 
and drawing should be as generally studied as is music. 

Michael Angelo gave the reason why drawing should be studied 
by all in the old-fashioned, honest way long superseded by dis- 
honest methods, when he said: — "Nothing makes the soul so 
pure, so religious, as the endeavor to create something perfect: 
for God is perfection, and whoever strives for it strives for some- 
thing that is God-like. True painting is only an image of God's 
perfection, — a shadow of the pencil with which he paints, a melody, 
a striving after harmony." 

I do not disagree with the effort to teach Art and Design in 
the Grammar School, but with the neglect of object drawing. 
These subjects are of equal importance and can be studied with 
equal value, for the Glass makes object drawing possible and in- 



DRAWING IN THE PUBLIC SCHOOLS 129 

teresting in even the lower grades. Design and drawing should 
be studied together, for each aids the other, and art requires 
design just as much as design must be based on drawing. 

The Boston Art Club recently extended an invitation to New 
England school-children of fourteen and under, to send in draw- 
ings for an exhibition of children's work. 

I was fortunate to see not only the six hundred accepted draw- 
ings, but the much larger number not hung for lack of space. 
The exhibition will be open while this book is in press and should 
prove interesting to all teachers. 

Some teachers do not believe in memory drawing or the study 
of composition before one has learned to draw and paint. This 
exhibition should cause reconsideration of such an opinion, 
because many of the drawings show remarkable ability in design 
and color, and are far better in these respects than much work 
by art-school students and even by artists. 

But the exhibition proves that today, to the pupils of our 
schools, drawing does not mean study of appearances, for it is 
difficult to find solitary examples that suggest that object draw- 
ing is ever attempted. Probably 95% of these drawings illustrate 
such subjects as the following taken at random from the drawings: 
"Cinderella at the Ball," "Jack and Jill," "Mary had a little 
lamb," etc. 

Formerly drawing meant copying appearances with no attempt 
at memory or illustrative work, and this exhibition represents 
the natural reaction from a mechanical effort to represent ap- 
pearances. 

By usual methods there has not been time for pupils to develop 
their memory and imagination, and also their eyes; therefore 
instruction has been narrow. Rightly used the Glass enables 
true vision and artistic expression to be developed at the same 
time. 

Memory drawings made on the Glass develop surprising power 
to illustrate on paper without study of the model. Grade pupils 
who follow the lessons of Chap. IX should be encouraged to use 
all possible time in memory study on the Glass. The best students 
may find time at the end of each exercise while the rest of the 
class are trying to complete the work. But if time can be found, 
extra lessons should be given the entire class on memory drawing 
on the Glass. 



Chapter VIII. 
MODEL DRAWING IN THE GRADES. 

Copyrighted by Evelyn F. Cross, Supervisor of Drawing, Stoneham, Mass. 

201. Art School Methods Fail in Low Grades.— The failure 
of the "Cross" Drawing Glass in many grade schools has made 
me decide to publish these lessons. The Glass was first used 
in Art Schools, and when adopted by public schools, it was nat^ 
ural to follow the methods which had produced such remarkable 
results in Art Schools. 

When I first used the Glass in Grammar Grades, I did not 
dream that there was any way except the Art School method, 
and I became so disgusted with the results that I gave up all 
use of the Glass and could not be persuaded to try it again 
for several years. 

202. Finally I tried again and found that by use of models 
on each desk, the upper grades could do good work. Now, after 
several years of experiments, I am satisfied that I have found 
a way to begin in the lower grades that will interest the pupils 
and enable them to succeed. 

Supervisors who have seen my classes at work have copied the 
directions given to my grade teachers and have afterwards written 
to say that these directions made drawing from objects so profit- 
able that they should be printed for general use. 

No course of study should be given teachers until it has first 
been carefully worked out in the class-room. Theories are theo- 
ries, — and children are children. Sometimes the theories and the 
children can be brought together harmoniously, but more often 
some change is required, and since the children cannot be changed, 
the theories must be adapted to their minds. 

I do not claim to have a course that will never need changes, 
for several times in the past few years, I have thought that I 
was ready to publish my plans, and then some experiment has 
given me a new and better method, and I have waited to make 
sure of details. I expect to change in the future, as in the past, 
but I feel sure of the most important problems. 

203. Teachers who use these lessons must not expect to avoid 
all difficulties, for the children cannot help being awkward at 
first, but those that persevere are sure to find the pupils interested 



FOURTH GRADE PUPILS DRAWING 

WORKING DIRECTLY ON PAPER 

THE GLASS USED AS A FINDER ONLY 

THE "CROSS" CRAYON NOT USED 




Fig. 75. — From photograph. 



From Dr. Charles W. Eliot, President Emeritus Harvard University. 

Dear Mr. Cross : — Your Glass is a very simple and ingenious device for 
training the eye to see with precision. It ought to be used in all the drawing 
classes in the country; for it enables the pupil himself to prove how exact his 
own observation of an object placed before him has been. It is not necessary 
for the teacher to show the pupil that his work is exact or inexact. The pupil 
himself can prove the quality of his own work; and so see how to correct it. 
Your Glass helps him to tell with his pencil the matter-of-fact truth, and to 
set down accurately what he sees with accuracy. Of course the delineation 
of an object is only a part of drawing; but it is an essential part. 

/ wish every superintendent of schools in the country could see for himself how 
rapidly pupils — both in the grades and in the high school — that use your Glasses 
advance in skill and in self-reliance. 

As I am hoping that drawing is to have a much larger place in American 
schools than it has ever had before, I naturally take strong interest in all means 
of improving the teaching of drawing. Your Glass is plainly a great improve- 
ment in teaching correct delineation of objects and perspective. 



GRADE IV. 

Drawn Directly On Paper. 

Though these pupils are too young to draw on the 
Glass and test by looking through the Glass at the 
object, they can draw on paper. See Fig. 75. 



All who see these busy 
children happy in their 
self-instruction, and in a 
concentrated effort that 
producesa wonderfully 
successful class result, ad- 
mit the great value of this 
drawing in the Grammar 
School. 



A Fourth Grade Teacher 
said — "My pupils want to 
draw all the time and gain 
concentration that aids in 
other studies." 






Fig. 76. — Such results come from the use of the Glass as a finder (as shown by 
Fig. 75), the "Cross" crayon not being used. 



MODEL DRAWING IN THE GRADES 133 

in an unusual degree as soon as they discover that they are able 
to criticise their own work. 

204. Glass Saves Paper. — The supervisor who meets with ob- 
jections as to the expense of providing schools with the Glasses 
has only to state that the pupils work so much upon the Glass 
that very little drawing paper is used for some time and that 
the saving of expense for paper soon balances the cost of the 
Glasses. It has, however, been my good fortune always to 
work under school committees who, once convinced that the 
success of my work depended upon the purchase of certain equip- 
ment, were ready to provide the materials. 

205. All Grades Begin in Same Way. — The lessons for the 
higher grades can not be given to pupils not prepared for them 
by several years' use of the Glass in lower grades or b}^ later 
study of the lower grade lessons. This preparation must be 
thorough, for a quick review will do little good. Perspective is 
hard to understand and apply, even with the aid of the Glass. 
Only conscientious effort and more time than is ordinarily given 
to object drawing can render the Glass as helpful as we have 
found it in Stoneham, where the teachers who have carried 
out these experiments are conscientious workers and so faith- 
ful in following directions that the success is as much theirs as 
mine. 

206. Success Demands Time. — A grade teacher unable to 
follow directions carefully or unwilling to work long and hard 
with models that do not make good exhibition subjects, will 
fail with the Glass. Any supervisor should succeed, provided 
she is allowed sufficient time for the subject, but failure is cer- 
tain without the needed time. 

Some supervisors are bound to meet with objections because 
model drawing takes so much time. It has been my privilege to 
work with superintendents who have had the vision to realize 
that the removal of model drawing from the course of study 
meant the removal of the very foundation of the art course and 
who, therefore, were glad to permit plenty of time for experi- 
ments with the Glass. 

207. I am especially indebted to Mr. Arthur Webber, 
who until recently has been superintendent of the Stoneham 
Schools. My present superintendent, Mr. Frederick Porter, ex- 
presses himself as follows: "I am much impressed with the new 
method of teaching free-hand drawing which I have seen demon- 
strated in your classes. The ability of the pupil to correct his own 
errors renders it invaluable and the results are so uniformly good 
in both higher and lower grades that I feel convinced that some- 
time the "Cross" Glass must come to be recognized as the only 



GRADE V. FROM OBJECTS. 
Drawn directly on paper without use of the Glass. 



"The Glass is going to be an enor- 
mous help in making even the dullest 
see. You have lightened the burden for 
all drawing teachers." — H. B. Warren, 
Harvard University. 




11 It is the best aid to observation I have 
seen, being direct, sensible and simple. 
The results from its use are remark- 
able." — C. Howard Walker, Director 
School of Design, Architect, Boston. 




"One could not believe such results 
possible, unless he saw the actual work 
both at the beginning of the term and 
now. The Glass will be a missionary 
to rural sections." — Charles E. Var- 
ney, Supt. of Schools, Gray, Maine. 



"After investigating carefully your 
Drawing Glass, I have decided to intro- 
duce it in the free-hand drawing classes 
in this School. For a Drawing Teacher 
not to use the 'Cross' Glass would be as 
foolish as for a semi-blind man not to 
wear glasses." "I went into a class last 
evening and said to the instructor, 
'Well, how does the Glass work?' 
Tine/ said he. 'I will have to change 
my course. They have learned more in 
a week with the Glass than formerly they 
did in a month.' " — F. F. Frederick, 
Director of the Trenton School of Art. 



Fig. 77. 



MODEL DRAWING IN THE GRADES 135 

sensible way of bringing before the pupil the principles of 
perspective." 

208. Tracing Starts Pupil. — When the Glass is used in Art 
Schools, no tracing is permitted, but time is wasted unless some 
tracing is allowed in public schools. The average public school 
pupil has no idea as to what he is to look for while studying and 
almost no knowledge of perspective. Thus a little time spent 
in judicious tracing will open his eyes much more rapidly than 
will the Art School method of drawing by sight on the Glass 
with the "Cross" crayon, testing, correcting, etc. Without 
this tracing, the grade pupil can not understand that a correct 
drawing necessitates lines on the Glass that appear to cover 
the edges of the object when the Glass is held in position for 
testing. A little tracing at the beginning should be permitted, 
but it should not continue after it is possible to work without 
it. 

209. Study on Glass. — In Art Schools the students are ready 
to work on paper when they can make on the Glass a drawing 
which will fit at first trial. The average public school pupil 
can not be expected to make drawings which will perfectly cover 
the object at first trial, but many pupils will succeed in making 
their drawings nearly cover at first testing. This does not, how- 
ever, prove that they are ready for work on paper, — in fact, my 
pupils failed entirely when given the paper. I felt that there 
must be some way to manage the change from Glass to paper, 
and I tried using the Glass simply for study. I could not at 
first see why it should make the difference, but I had taught 
long enough to realize that things which make little difference to 
adults make a world of difference to young people. It proved so 
in this instance. The "Cross" crayons were not distributed, 
for we did not wish to give a chance for tracing. The pupils 
studied the models through the Glasses by laying on pencils 
to test directions of lines and by "making believe" draw the 
outlines on the Glass with lead pencils, and they readily put 
the results of that study .upon paper. 

210. As the weeks passed and proved how much better and 
more quickly the pupils were drawing, I concluded to use the 
Glass for study before attempting to draw on the Glass 
with the "Cross" crayon. Preliminary study through the Glass 
enables the pupil to avoid making many mistakes and is one of 
the most helpful ways of using the Glass. This study is merely 
what a student does when he draws "in the air." But studying 
"in the air" by a young pupil is so inaccurate that it is without 
value, — while study on the Glass or through the Glass con- 
fines the pencil to one plane surface and serves to convince the 



136 DRAWING AND PAINTING SELF-TAUGHT 

pupil that drawing does not result from guesswork but from 
knowing how to observe. 

Since last fall, our fourth grade pupils have done more remarkable 
work (considering their age) than those in more advanced grades. 
At first I tried the method explained in Lesson 6, Grade IV, in 
one room only. The results were so much better than any gained 
in even Grade V or VI that I said, 'This must be an exceptional 
class. I cannot expect it again." Then I tried it in a second 
fourth grade. This also was an exceptional room. I kept on 
trying it until every fourth grade in town had proved itself ex- 
ceptional, and then decided that it was the new way of using the 
Glass. One might conclude that the fourth grade teachers 
were all exceptional, but the same teachers, under my super- 
vision, had used the Glass differently and attained results only 
fairly good. 

211. Directions Avoid Failure. — It may seem unnecessary to 
follow all the directions closely, but it is far wiser to do so, for 
they are the result of several years of effort, in most of which 
little or no success was gained, while these directions have resulted 
in uniform success for all who have followed them carefully. 
Sometimes a slight difference in use, so slight as to seem hardly 
worthy of mention, will yet mean the difference between success 
and failure. These differences mean more to the pupil of lower 
grades than to those of higher grades. We often tell our classes 
that learning to draw is simply learning to see, but all the time 
we are well aware that teaching pupils to see is the most difficult 
of all our problems and that the younger the pupil, the more 
difficult has perspective proven, so that at times it has seemed 
an impossible task. I have long felt helpless and hopele'ss con- 
cerning model drawing. It is true that I always had a few talented 
pupils who could learn to apply the principles of perspective, 
which the others could not be induced to do. 

212. My experience is by no means exceptional. For many 
years drawing teachers have faithfully tried to teach object 
drawing and failed completely except with the talented few. 
Now, when so much attractive work is expected from the art 
department, it is no wonder that directors believe that the 
public cannot realize that correct drawings of the cube, prism, 
and cylinder are worthy of admiration. They make no show, 
and it takes so long to obtain the drawings that there is not 
enough time to produce also the showy subjects which appeal 
to the fancy of the spectator. 

213. The drawing teacher has thus been forced to neglect. 
the fundamentals and omit object drawing, first from the lower 
grades, then from the higher grades, until now so little real draw- 







?<<i 



t- 



Fig. 78. — From sketch by Anna M. Hathaway. 



138 DRAWING AND PAINTING SELF-TAUGHT 

ing is taught in many places that when demands for posters and 
other decorative work are made, it is necessary either to avoid 
subjects that involve perspective or to assist pupils to an extent 
that renders the results more the work of the teacher than of the 
pupils. Only a few months ago a supervisor of an important 
city came to me in despair and said, "I don't know what to do. 
I begin to think I must give up teaching. I do not have time to 
teach principles and my pupils are so poorly prepared for the 
show work which I am forced to give them that they are unable 
to do anything without altogether too much assistance from me." 

214. Art and other educators recognize that a most impor- 
tant factor in art study is that training of the judgment which 
gives keen vision and ability to do accurate work of any kind. 
Model and object drawing does more to further this end than any 
other subject included in the drawing course. This fact is quite 
generally recognized now, and so the drawing teacher must be 
interested in a method which promises successful class results 
with model drawing, even in the lower grades of public schools, 
for, as is well known, it has been considered unwise, if not im- 
possible, to expect class results in this subject below the High 
School. 

In addition to the exercises I have planned, I would suggest 
that all the students try to reproduce from memory the drawings 
which they have correctly made on the Glass. The objects 
should be removed while making these drawings and replaced 
that the completed work may be tested. 

NATURE DRAWING. 

Since the Glass is as useful in nature drawing as for study 
of perspective, it will be well to give a few general directions. 

215. Trace Leaves. — Begin with single large leaves, e.g. 
lilac, plantain, syringa, maple, oak, etc. Place the leaf straight 
ahead at the farther part of pupil's desk and with midrib parallel 
with short edges of desk. Pupil look with one eye toward center 
of leaf and place Glass in position for tracing and as near leaf as 
possible without hiding leaf by lower side of frame. Trace line 
on Glass with "Cross" crayon to cover midrib and stem of leaf 
and then trace outline of leaf, — all the time looking back to see 
if the first line traced still covers, for if either the Glass or the 
eye is moved the tracing will not be a true picture. 

The foreshortening is so great a surprise that the pupils are at 
once interested. After tracing has been completed, place the 
leaf behind the tracing so that differences may be better observed. 

216. Study Through Glass. — When several tracings of leaves 



MODEL DRAWING IN THE GRADES 139 

have been made, pupils may study through Glass and draw on 
paper or study through Glass and draw by sight on Glass with 
"Cross" crayon. At first draw simply the mid-vein and stem of 
the leaf (so placed that mid-vein is parallel with short edges of 
desk), then hold Glass in position for testing and see if this is 
correct. Also study outlines of leaf through Glass, "making be- 
lieve" draw by lead pencil tracing. Next draw by sight on Glass 
with "Cross" crayon and when outline is completed, hold up Glass 
and look through it at leaf to see if lines can be made to cover out- 
line of leaf. If not, note errors, lay Glass down and correct, test 
again, etc. 

217. When ready for work on paper, study leaf through 
Glass b} r "making believe" draw its outline with lead pencil. 
After having thus felt the way around on Glass, feel the way 
around on paper and finally sketch with lead pencil. 

218. Sprays. — When able to draw single leaves of simple 
shapes, more difficult leaves may be studied and later sprays of 
simple leaves and finally more difficult sprays. 

The Glass thus used has been a wonderful help and has enabled 
most of the pupils in a class to make good drawings. Before 
such use of the Glass, the majority persisted in making "plans" 
of leaves and were helpless to draw a leaf placed in a peculiar 
position. Now, the greater number of drawings show foreshorten- 
ing, and pupils seldom ask how to represent unusual positions. 
If they do not know at first glance, they understand how to 
study and discover for themselves. Teachers are enthusiastic 
in the use of the Glass for nature study and often attempt and 
succeed with more difficult subjects than I have given in my 
outlines. 

When the pupils discover that the pictures are really pleasing 
and that they can teach themselves to produce them, they are 
delighted to draw appearances instead of facts. 

219. Foreshortening. — A supervisor who visited our classes 
questioned the pupils of a sixth grade about the drawings, which 
were uniformly shorter than the models. He picked up a model, 
measured it and then measured the drawing and asked why the 
drawing was so much shorter than the model. A pupil replied 
at once, "Because of foreshortening." 

"Foreshortening," said the supervisor, with a puzzled expression. 
"What in the world is that? I know that shortening is some- 
thing put into bread. Is it anything like that?" 

"No," replied the boy. "Shortening is something you put into 
bread to make it taste good and foreshortening is something you 
put into drawings to make them look good." 

Was there ever a better definition! And we firmly believe 




Fig. 79.— By Anna M. Hathaway. Pencils used, H., F., 3B, 6B. 



MODEL DRAWING IN THE GRADES 



141 



that the mission of the "Cross" Glass is to give the average pupil 
ability to make a drawing "look good/' — an ability which will 
sometime make drawing the simplest, practical, universal lan- 
guage. 





Grade VIII. Brush drawings. 



Chapter IX. 

LESSONS FOR GRADED SCHOOLS.* 

GRADE IV. 
THE FIRST LESSONS ON THE GLASS. 

Lesson 1. Pupils learn to look with only one eye. 
Pupils learn to aim a pencil at point on blackboard. 
Pupil learns to aim a pencil at point on his own desk. 
Pupils learn to follow with pencil point in the air, a straight 
line on blackboard. (Teacher use pointer as guide.) 

Lesson 2. Pupils mark a point (shown by an x) in center of 
paper 6" x 9". Place paper at back of desk. Look through 
Glass at this point. Practice in sighting or aiming at and cover- 
ing this point with point of a lead pencil placed on the Glass. 
Look with one eye and then with the other eye. Sit high and then 
sit low and note how the position of pencil point on Glass changes 
in order to cover the point on paper. 

Lesson 3. Practice in following curved line on board. Teacher 
guide pointer slowly around a circle and pupils follow pointer by 
drawing in air with pencil. 

Pupil lay a circular card (5)^" diam.) straight ahead at far- 
ther part of desk. Hold Glass in position, look through 
Oit at circle and then trace circle with "Cross" crayon. 
Several attempts will be necessary to obtain an accurate 
tracing. 
Lesson 4. Pupil trace with "Cross" crayon a circular card 
(33^" diam.) placed on the end of a cylinder made by rolling up 
a strip of paper 5%" x 12". The card should fit the top closely 
and a second card of same diameter should be cut for 
CZ> the bottom. A few experiments will determine how much 
lap to allow. After tracing the top circle on the Glass 
O with "Cross" crayon, remove the top, also the central 
part of the model, but leave the lower circle. Then trace 
lower circle and compare tracings of top and bottom. 

Bring out idea that the lower the circle, the wider it appears 
from front to back. 

Lesson 5. Trace with "Cross" crayon the entire cylinder 
made as described above. Note that lower circle appears the 

* Copyrighted by Evelyn F. Cross. 





Fig. 80.— By Anna M. Hathaway. Pencils used, H., 2B, 3B, 6B. 



144 DRAWING AND PAINTING SELF-TAUGHT 

wider ellipse. Pupils see all the circle at the top and only part 
of the lower one and so think the lower ellipse is not as deep as 
the upper. A knitting needle laid across the Glass horizontally 
and seeming to extend from the lowest point in the left vertical 
to the lowest point in the right vertical will convince them of 
the appearance. Sometimes it is necessary to use this needle 
even when tracing, as pupils refuse to believe their eyes and insist 
on drawing the lower ellipse not deep enough. 

Lesson 6. First lesson in studying through the Glass. Do 
not distribute " Cross' ' crayons. 

The same cylinder vertical at the back of desk. Study vertical 
side lines by placing two pencils on Glass. The convergence of 
these verticals will seldom be noticed. Say nothing about it 
unless some pupil speaks of it. Then explain that if convergence 
is shown, the drawing will look like a tumbler instead of the 
cylinder, and thus vertical edges must always be shown by verti- 
cal lines. Explain that the lines do really appear to come together 
and that this is the only time that we do not draw exactly what 
we see when representing a single object. 

Study top of cylinder by tracing on Glass with lead pencil the 
curve of upper circle. Study bottom by tracing with lead pencil. 

This "feeling the way around" the contour is a wonderful help. 
As there is no drawing on the Glass, there is no tracing that can 
be copied. If pupils trace and copy the tracing, they do not 
think, and such use of the Glass is worthless. 

The few tracings needed at the start should, however, be followed 
with much study and close observation, or the power of seeing 
truly will never be gained. 

Lesson 7. First Lesson on Paper- 
Pupils study through Glass (see Lesson 6). After study of 
model as a whole, study top circle by "feeling way around" on 
Glass. Then feel way around on paper, and after this, sketch 
lightly on paper the top ellipse. Carefully study side lines by 
use of knitting needle (see L. 5), then sketch lightly. Then 
study and sketch lightly bottom of cylinder. 

To test drawing, place pencil horizontal across Glass and 
measure the width of model. Place this width on drawing. Place 
pencil flat on Glass, parallel with sides of frame, and set off height 
of model. Compare with height of drawing. Sometimes in first 
lessons in Grade 4, it may be well to have pupils measure height 
and width on Glass and transfer to paper before drawing. Such 
aid is allowable for young children, but after a few lessons, they 
can draw first and then measure. 

Lessons 8, 9, 10 and 11. — All kinds of interesting models 
based on the cylinder. 




LESSONS FOR GRADED SCHOOLS 145 

The models need not be alike, for it is better for pupils to use 
their own objects and bring tin cans, tumblers, flower 
pots, tin dishes with handles, powder cans, ink fillers, 
all kinds of bells, vases, cups, mugs, etc. These ob- 
jects will answer for several lessons, as pupils may ex- 
change models. In this way models for each student 
are readily supplied. No attempt at finish except neat- 
ness and a soft gray line. 

Pupils of Grade IV. should make many drawings on paper 
so that they may understand how to draw any object based on 
the cylinder or slight variations of this form. 

This may seem a hard problem for Grade 4, but the suggestions 
given make it possible. 

GRADE V. 

Lesson 1. Practice on use of Glass. 

Practice looking with one eye. 

Practice in covering ruler held vertically at front of room. 
Pupils use ruler or pencil at arm's length and measure upon it. 
Repeat when pupil holds the ruler nearer his eye. Note different 
distances taken to cover the ruler at front of the room. Cover 
and measure other and longer edges in room, as an edge of a pic- 
ture, or top of door or blackboard. 

Place a bit of paper at back of pupil's desk and aim at it with 
ruler. Aim first without Glass, then with Glass in position for 
looking through it at the paper. Aim carefully at paper and see 
where ruler strikes Glass. Aim with right eye, then with left 
eye. Sit high and aim. Sit low and aim. Note that ruler strikes 
Glass at a different point each time the position of eye is changed. 

Explain carefully correct use of Glass. Show need for keeping 
eye in one position when drawing or tracing, by making two 
tracings of a pupil's head, the first from one fixed point being the 
good picture, and the other an absurdity produced by moving 
the eye while tracing the head. 

Lesson 2. Place pencil in groove at back of desk. Place 
thumbs on Glass to cover ends of pencil. (Glass can be held 
in position with the fingers.) Place pencil on Glass to cover 
pencil behind Glass. Place pencil on desk parallel with short 
edge of desk. Hold a pencil against Glass to cover the pencil 
on desk. Note difference in length of the pencil on desk and the 
part of pencil (on the Glass) that covers it. 

(a) Study last position when eye is in line with pencil. 

(b) Study last position when eye is at right of pencil. 

(c) Study last position when eye is at left of pencil. 




Fig. 81. — From pencil drawing by Anna M. riathaway. 



LESSONS FOR GRADED SCHOOLS 147 

If new pencils of same length are used, this study will be most 
successful. 

Place square card (7%") at back of desk and place pencils 
on Glass to cover front and rear edges of card. Study foreshorten- 
ing. Same experiment with oblong (5J^" x 8"), first when its 
long edges are parallel with long edges of desk, and then when 
the short edges are parallel. (Glass may be held with short edge 
on desk for last position.) Study foreshortening and explain 
common examples. 

Lesson 3. Convergence. — Square card, 8". Place pencils 

on glass to cover side edges of card 

/ \ / | 1 \ and note convergence. Study three 

positions. First, eye looking toward 
center, then in line with right edge of card, and last in line with 
left edge. 

Same experiments with oblong 53^" x 8". 

Same experiments with square 4j/£". 

Lesson 4. Tracing. — Teacher draw line on blackboard. 
Class follow teacher's pointer with lead pencil as she starts at 
top and goes slowly downward. Other lines then followed. Con- 
tinue "drawing in air" by following pointer around the sides 
of a large square drawn on blackboard. 

Place square of 7%" straight ahead at back of desk. Look 
through Glass at it and trace with "Cross" crayon on Glass: — 
first, when looking toward center; second, when eye is in line 
with right side, and third when in line with left side. In the last 
two positions, one side of square will be covered by one edge of 
the frame. 

In similar manner trace with "Cross" crayon an oblong 53^" x 8". 

Lesson 5. Trace with "Cross" crayon cube 2%". Trace 
when only two faces are seen. Note foreshortening of 

Qtop, also of. front face and convergence of edges of top. 
Erase tracing and study .cube through Glass without 
tracing. Place two pencils horizontally across Glass to 
cover nearer and farther edges of top face and note that distance 
between pencils is the distance that top appears from front to back. 
Place two pencils across Glass to cover upper and lower edges 
of front vertical face. Note that distance between pencils is 
apparent height of front face. 

Place two pencils on Glass parallel to side edges of frame and 
so that they cover the nearer ends of two side edges of top face. 
Move pencils together at the top until they cover side edges and 
note their convergence. 

Lesson 6. Drawing by sight on Glass with "Cross" crayon. 
Draw cube with two faces visible. 



I 





I 

■(• .air 



r: ^m 



i 





Fig. 82. — Brush drawings from nature. Grade VI. 



LESSONS FOR GRADED SCHOOLS 149 

220. Before drawing by sight it is necessary for most pupils 
to study through the Glass. The laying on of pencils to cover 
edges, even the tracing of outlines with a lead pencil is permitted. 
It should be remembered, however, that there is a great difference 
between lead pencil tracing on the Glass and tracing with 
" Cross" crayon. The latter makes an actual outline, and if 
the pupils trace thus on the Glass before drawing by sight, 
they will simply erase the tracing and draw it again by memory 
without any thought whatever, or they will make sure of leaving 
faint outlines though pretending to erase and so get rid of the ne- 
cessity of even memory work. The lead pencil tracing teaches 
them to think, and as it leaves no line on the Glass, is the best pos- 
sible way of studying. All study through the Glass done as an 
aid to the drawing by sight on Glass with "Cross" crayon should 
be done at one time and before drawing even one line with crayon. 
The pupils should simply hold up Glass and do all such studying 
in a few minutes and then lay Glass down and keep it flat on desk 
while drawing with crayon by sight. The study through the 
Glass as done in connection with the first drawing on paper 
permits study of one line at a time. The various ways of using 
the Glass tend to make it possible sometime to do wholly 
without it. 

221. Art School students should draw on the Glass when 
it is held in the hand at right angles to line of vision, but young 
pupils must place it flat on the desk with the white card behind 
Glass. When drawing is finished, lay crayon down and hold 
Glass in position for testing and look through Glass at cube. 
See if Glass can be held so that the drawing will cover the edges 
of cube. If not, note mistakes, lay Glass down and correct. 
Look through Glass again, note mistakes and correct as before, 
and so continue until all lines can be made to cover. 

No tracing for corrections should be permitted when drawing 
by sight. 

Lesson 7. Square Prism, 2^" x 23^" x 5", two faces visible. 
Draw by sight with "Cross" crayon on Glass. Proceed as 
in case of cube, L. 6, the prism being upright. 

The prism, lying down, only two faces visible. Two 

positions, the first on desk and the second on three or 

four books. Draw by sight on Glass. When testing, 

Glass should rest on desk or on the pile of books. 

Lesson 8. On Paper. Do not distribute crayons. Study 

cube, 2 faces visible, through Glass. Place pencils on glass to 

cover edges, etc., etc. 

Place drawing paper so that when Glass is in position for 
study, the lower edge of frame can rest on farther edge of paper 



150 DRAWING AND PAINTING SELF-TAUGHT 

to hold it. Pupils "feel way" around on Glass with lead pencil, 
then "feel way" around on paper. Sketch lightly on paper with 
pencil of medium grade. Place pencil across Glass and set off 
on pencil the width of cube. Compare this with drawing. Place 
pencil upright on Glass and measure on it the height of cube. 
Compare with drawing. Place two pencils on Glass to measure 
convergence of top edges. Compare with drawing and correct 
same. Erase mistakes and finish in soft gray lines. 

Lesson 9. Square Prism on Paper. Do not distribute "Cross" 
crayons. 

Two positions, — first, upright with two faces visible, and sec- 
ond, lying down with two faces visible. 

Proceed as in L. 8. 

Draw square plinth 4" x 4" x \y%" on paper, two faces visible. 

Lesson 10. Boxes on Paper. 

Proceed as in L. 8. Do not give out crayons. 

Other subjects of a more interesting nature should 
I \ now be studied. Vegetables and fruits make good 
I • I subjects. Cylindrical objects should be reviewed. 
Each pupil must have a model on his own desk. Pupils 
may draw on Glass by sight with "Cross" crayon before they 
draw on paper. 

GRADE VI. 

Lesson 1. Tracing. — The Cube, three faces visible. 
Place cube so that the two side faces appear of equal width. 
Sit so as to look with one eye toward center of cube. Hold a 
string, weighted by eraser, as a plumb-line to appear to pass 
through corner G and the edge A B. Fig. 84. 

Trace cube on Glass with "Cross" crayon. Constantly refer 
-£ to first line traced to see that it covers the edge. 

c^^Tp^^E Study tracing to understand why the cube ap- 
^^y^^ pears thus, 
j 2 A . Each pupil draw on Glass a line connecting D 

j>L Jf and F. Note its horizontal direction and that 

^\^^ the bottom edges slant upward at equal angles. 
Fig B 84 Measure on straight strip of paper (ruler is useless) 
the distance from middle vertical to D and com- 
pare with distance to F. Note that distances are equal and 
therefore side faces 1 and 2 appear alike. 

B. Measure middle vertical A B of tracing on strip of paper. 
Compare with actual length of edge A B in model. A B appears 
shorter than its real length because, being below the eye, it is 
seen obliquely and foreshortened. 

C. Measure length of C D in tracing and compare with A B. 








' # ; "' 



Fig. 83. — Grade VI. Brush drawings from nature. 



152 DRAWING AND PAINTING SELF-TAUGHT 

Explain that C D appears shorter than A B because it is farther 
away. Measure E F and see that it is the same length as C D 
because the same distance from the eye. 

D. Draw diagonals in the tracing of the top face and note 
that C and E are in the same horizontal line, while A and G are 
in the same vertical line. Measure A O of vertical diagonal and 
compare with G. Explain that A appears longer because 
nearer eye. 

E. Place ruler on B F of tracing and continue it. Also continue 
A E and C G. These lines come nearer together in the tracing 
as they recede. Make same experiments with left side lines of 
tracing. 

If any pupils notice the convergence of the lines of tracing 
that represent the vertical edges of cube, explain why this is 
not represented. (See L. 6, Grade IV.) 

Lesson 2. Tracing Square Prism on Glass. Place prism 
so that two side faces appear equal. Trace with "Cross" crayon. 
Study tracing as explained in L. 1. 

Lesson 3. Study Cube through Glass. Draw on paper. 

Do not distribute "Cross" crayons. 

Place cube at farther part of desk with three faces visible, 
the two side ones equally foreshortened. 

Place paper so that when Glass is in position for looking through 
it at model, the frame will rest on farther edge of paper to keep 
it in position. 

Pupils look through Glass at model and study angle of lower 
edges. Place two pencils on Glass to cover these edges. Place 
knitting needle across Glass from D to F (Fig. 84). Note 
how far up needle seems to cut middle vertical. Sketch on paper 
with lead pencil the lower edges of cube. Also the middle vertical. 
Place knitting needle upon drawing to see if lines are at correct 
angle. Measure on Glass the apparent length of middle vertical 
and compare with drawing. 

Place two pencils on Glass to cover edges A E and B F. Note 
convergence. Sketch on paper and test. Lay two pencils on 
Glass to cover A C and B D. Note convergence. Sketch on 
paper and test. 

Sketch side verticals, then measure width of side faces both 
on Glass and in drawing. 

Place pencils on Glass to cover edges of top, A E and C G, 
also A C and G E. Sketch on paper. Draw horizontal and verti- 
cal diagonals of top. Place knitting needle on Glass to form 
horizontal diagonal of top and compare with drawing. 

A O appears a trifle longer than G through the Glass and 
should be so in the drawing. 






Fig. 86. — Brush drawings from nature. Grade VIII. 



154 DRAWING AND PAINTING SELF-TAUGHT 

After all corrections are made, erase and finish in soft, gray 
lines. 

Lesson 4. Study through Glass. Draw on paper. Crayons 
not distributed. 

Place square prism 2}^" x 5" upright, at back of desk, with 
three faces visible, the side faces equally. 

Proceed as in preceding lesson. 

Lesson 5. Study through Glass. Draw on paper. The 
square plinth (4" x 4" x 1JH$")> three faces visible, the two side 
faces showing equally. Proceed as in L. 3. 

Lesson 6. Draw on Glass by Sight with "Cross" crayon. 

Place cube at back of desk on pile of books, with three faces 
visible, the two side faces equally. 

Draw on Glass directly without tracing. Study through Glass, 
if necessary. Place Glass flat on desk with cardboard behind 
Glass. When completed hold Glass in position for testing, rest- 
ing it on books instead of on desk, and see if all lines of drawing 
can be made to cover at one time the edges of the cube. Note 
errors, lay Glass down, and correct, etc., etc. 

Lesson 7. Draw on Glass by Sight. 

The square prism upright with three faces visible as in L. 6. 
Place on books. 

Lesson 8. Draw on Glass by Sight. 

The square plinth when placed on books, three faces visible. 
Lesson 9. Draw on Paper. Boxes. 
Do not distribute crayons. Use objects based on square 
prism or plinth. 

Lesson 10. Draw on Paper. Cube. 

Three faces visible, two sides equally. Draw on paper, if 
possible without study through Glass. 

Lesson 11. On Paper. Square Prism. 

In same way as in L. 10. 

Lesson 12. On Paper. Object (not a box) based on 
Square Prism. 

If possible, without study through Glass before drawing. 
222. It may seem as if I have planned an unnecessary 
amount of drawing on Glass by sight, but I have tried 
less and failed. Drawing by sight on Glass and then testing seems 
to be the only way to obtain an exact drawing. This trains 
pupils' judgment so that finally they can work readily on paper. 
Some will wonder why they begin by studying through the Glass 
and drawing on paper, and then leave the paper to draw by sight 
with "Cross" crayon on the Glass. It is because, in the lower 
grades, it is easier for them to make an approximately correct 
drawing on paper after study through the Glass, than it is to 



LESSONS FOR GRADED SCHOOLS 155 

make and test an exact drawing on the Glass. Making the ap- 
proximate drawing on paper prepares the way for the absolute 
accuracy demanded by the drawing on Glass. 

Some may think the study through the Glass not es- 
sential and that pupils should work directly on paper. I have 
found much time wasted when difficult subjects are thus tried by 
young pupils. The study through the Glass makes real the 
truth that the drawing on paper must be exactly as model looks 
through the Glass. High School and advanced pupils may not 
need this study, but after ten years of teaching without it and one 
year with it, my teachers are convinced that studying first through 
the Glass makes subjects possible that have hitherto been con- 
sidered impossible. I believe that, when all my classes have 
from the beginning been trained as these lessons suggest, the 
final results will be much better than those now attained. 

GRADE VII. 

Lesson 1. Tracing Cube. 

Place cube so right side appears narrower 
J^~——~-r. E than left and trace on Glass with "Cross" crayon. 
~+~~—fZ Look with one eye directly toward center of 

l ! 2 cube. If position of model is correct, a plumb- 

line held to appear to cover corner G will in- 
tersect line A C. Fig. 85. 

While tracing, refer to first line traced to see 
Fig. 85. ^hat ft s ^[\\ covers. Study tracing. 

A. Pupil draw on Glass horizontal line through F and note 
that it cuts left vertical C D above D. When the sides are at 
unequal angles, D and F will not be in horizontal line. 

When the angles of D B and B F are unequal, the sides 1 and 2 
will appear unequal. Measure with strip of paper on horizon- 
tal line througri F the width of right side and compare this 
width with that of left side. Note that the narrower face has the 
greater angle (B F). 

B. Measure middle vertical A B of tracing and compare A B 
in tracing with A B in cube. Note that appearance is shorter than 
real length because below the level of eye. 

C. Measure C D in tracing and compare with A B. Bring 
out idea that C D is farther away than middle vertical and there- 
fore appears shorter. Measure E F and compare with C D. 
Note that E F is a trifle shorter because farther back. 

D. Place rulers on three lines of tracing that converge to 
the left. Note convergence. Place rulers on three lines that 
converge at right. 




-I ' 



Fig. 87. — Grade IX. From mounted specimens. 



LESSONS FOR GRADED SCHOOLS 157 

Lesson 2. Tracing Square Prism. 

Place object so that the side faces appear of unequal width. 
Trace on Glass with "Cross" crayon and study tracing as ex- 
plained in preceding lesson. 

Lesson 3. Study through Glass. Draw on Paper. Do not 
distribute crayons. 

Place cube on desk so that three faces are seen, the right ap- 
pearing narrower than the left. Fig. 85. 

Place paper so that when Glass is in position for studying 
model, the frame may rest on paper to hold it in place. 

Pupils look through Glass at cube, study angles of lower edges 
and place two pencils on Glass to cover these edges. Place knit- 
ting needle horizontally across Glass through F. Note where 
needle seems to cut middle vertical and the left vertical. 

Sketch middle vertical line of drawing. Measure its apparent 
length on Glass and compare with real length and with the 
drawing. 

Place two pencils on Glass to cover edges A E and B F. Note 
convergence and sketch on paper. 

Place two pencils on Glass to cover edges A C and B D. Note 
convergence and sketch on paper. 

Draw side verticals and then measure width of each side face 
and compare with the sketch on paper. 

Place pencils on Glass to cover edges of top A E and C G and 
then to cover A C and G E. Sketch on paper, correct and finish 
with soft, gray line. 

Lesson 4. Study through Glass. Draw on Paper. 

Place square prism upright, at back of desk, with two sides 
showing unequally. 

Proceed as in preceding lesson and do not trace at all. 

Lesson 5. Study through Glass. Draw on Paper. 

Place square plinth at back of desk with its sides showing un- 
equally. 

Proceed as with cube, L. 3. 

Lesson 6. Draw Cube on Glass by Sight. 

If necessary, study first through Glass (see Lesson 6, Grade V.). 

Place on books at back of desk and with side faces showing 
unequally. 

Draw on Glass with "Cross" crayon. Have Glass flat on desk 
with the cover behind it. Do not trace. 

When completed, hold Glass in position for testing, resting it on 
the books instead of on the desk. Look through it at cube to see 
if all lines of drawing can be made to cover at one time all edges 
of the cube. Note mistakes and lay Glass down and correct. 
Look through again and test and correct, but not by tracing. 



158 DRAWING AND PAINTING SELF-TAUGHT 

Lesson 7. Square Prism. On Glass by Sight. 

Place prism upright on books at back of desk, with side faces 
unequally seen. Place higher than cube in L. 6. 

Proceed as in last lesson. 

Lesson 8. Square Plinth. On Glass by Sight. Follow di- 
rections for cube, Lesson 6. 

Lesson 9. Box based on square prism or plinth. Place as in 
L. 6. If possible do all needed studying through Glass first, 
then draw on paper. No tracing. Finish in soft, gray lines. 

Lesson 10. Small Child's Rubber. 

Place at back of desk and trace with "Cross" crayon. Erase 

tracing and turn rubber in opposite direction. Studjr 

^^^) through Glass. Feel way around with lead pencil on 

Glass. Sketch by sight with "Cross" crayon on the 

Glass while Glass has cover behind it and is flat on desk. Test 

by looking through. Note errors and lay Glass down and correct. 

Lesson 11. Exchange Rubbers. Draw on Paper. 

Study through Glass and sketch on paper with lead pencil. 
While sketching, hold Glass in position for study so that sketch- 
ing and studying may be carried on together. Place thin knitting 
needle on Glass horizontally and vertically to cover important 
points and note where needle cuts the contour. Feel waj^ around 
on Glass with lead pencil to get the directions. Compare out- 
lines of rubber with edges of frame. Measure height and width 
on the Glass. Finish with a little shading. c^> 

Lesson 12. Any interesting object. On Paper. ^Bk. 

Proceed as in last lesson. f i ( 

Lesson 13. Etc., etc. Other interesting subjects in- ^^ 
eluding groups msiy be tried if desired as explained in Grade VIII. 

USE OF SPIRIT-LEVEL. 

223. Although pupils may not be able to draw from difficult 
models that are far from the Glass, it is possible to begin to 
study models not on their own desks so that in Grade VIII more 
difficult models may be studied at a distance. 

When studying from models and testing appearances, the Glass 
must always be held at right angles to a line from the eye to the 
model. When an object is below eye, the Glass will incline back- 
ward as in Fig. 8. When object is above eye, the Glass will incline 4 
forward. When object is on level of eye, Glass will be held vertical. 

When using the level the Glass should be held with the level 
in the top side of the frame. Hold it in both hands and slowly 
move one hand up or down, as may be needed, to make the bubble 
stay in the center of opening. 



LESSONS FOR GRADED SCHOOLS 159 

Pupil can study a distant edge by placing pencil on Glass to 
appear to cover it or by tracing on Glass with "Cross" crayon. 

Have pupils use spirit-level to prove the following principles: — 

Horizontal retreating lines below eye appear to incline upward. 
Horizontal retreating lines above eye appear to incline down- 
ward. Horizontal retreating lines on the eye level appear hori- 
zontal. 

Pupils can do this work without interfering with one another 
if they do not all try to study the same lines at the same time, 
or if this is desired, when one pupil remains seated and the next 
studies while standing, and so on to the end of the row. 

Lesson 14. Testing angles of lines above eye. 

Testing angles of lines below eye. 

Testing angles of lines at eye level. 

Study directions of edges with reference to edges of frame by 
placing pencils on Glass to cover edges and by tracing with 
"Cross" crayon lines on Glass to cover edges. 

Lesson 15. Similar problems to those in the last lesson. 

Lesson 16. Draw by Sight on Glass long, distant lines of room. 
Test by looking through Glass. Note mistakes, lay Glass down 
and correct. Test again and draw again, etc. 

Lesson 17. Same as 16. 



GRADE VIII. 

Lesson 1. Cylinder and Cube grouped. 

Place at back of desk so that two faces only of cube are, seen. 

□ Study through Glass as already described. Cover edges 
with pencils. Hold up plumb-line to locate points with 
f=\ reference to opposite outline. Place knitting needle 
L — ' horizontal on Glass to see what points, if any, are on 
the same level, and to determine levels with reference to each 
other and to the opposite outline. 

Study carefully through Glass for at least ten minutes. Then 
place Glass flat on desk with cover behind it, and draw by sight 
on Glass with "Cross" crayon. Do not look through Glass until 
all outlines are complete. Then lay crayon on desk and test 
result. 

Be sure not to make a single correction on Glass by tracing 
while it is in position for the test. If all lines do not cover edges 
of models, note these mistakes, lay Glass down and correct. 
Test again and so continue till result is correct. 

Lesson 2. Same Models. Draw on Paper. Place cube on 
other side of cylinder. 



160 DRAWING AND PAINTING SELF-TAUGHT 

Rest Glass on farther side of paper to hold it in place and hold 
Glass in position for looking through it to study the group. Use 
all tests explained in last lesson and sketch on paper with lead 
pencil. 

Pupil can compare the direction of an edge behind the Glass 
with the frame. In the drawing, this edge must make an equal 
angle with the edge of paper. If parallel with edge of frame, it 
must be drawn parallel with corresponding edge of paper. 

The measurement of the width may be taken by placing pencil 
horizontally upon Glass so that left end of pencil covers the 
extreme left point of group and covering the extreme right point 
of the group with the finger. In the same way, the height of the 
group may be set off on the pencil when it is placed on the Glass 
parallel with the left and right sides of the frame. 

By comparing these measures with those of the drawing, mis- 
takes will be readily corrected. 

Pupils may also use lead pencil for making "believe draw on the 
Glass. Thus the pupil "feels his way," as does the artist who 
draws "in the air." Do not distribute "Cross" crayons, so that 
there may be no copying of tracings. Pupils who trace and copy 
refuse to think and fail to progress. 

Lesson 3. Draw by Sight on Glass. 

□ Group of a square prism with two faces visible and a 

cube with three faces visible, the vertical faces seen 
Qj equally. Place models J^" apart, with one nearer than 

the other. 
Study through Glass. Then place Glass flat on desk with 
cover behind it and draw with "Cross" crayon. Use all the 
tests explained in L. 1, and as many more as possible. 

Lesson 4. The same as last lesson, only three sides 
of the square prism are to be shown and two sides of 
^f=\ the cube. 

" Draw on paper as explained in L. 2. 
Lesson 5. Three Models. On Glass. 

Draw by sight with "Cross" crayon, the cube, cylinder, and 
square plinth. Pupils arrange their own groups and 
try to avoid unpleasant combinations. 

Study, sketch, and correct as explained in L. 1. 
Lesson 6. Three Models. On Paper. 
Use cube, square prism, and square plinth. 
Proceed as in L. 2. 

Lesson 7. Three Models. On Paper. 

Use square plinth, small flower pot, and a short 

cylinder or cube. 

Proceed as in L. 2. 






LESSONS FOR GRADED SCHOOLS 161 

Lesson 8. Draw on Glass. Three Models. 
_^ Use square plinth, small glass jar, and square prism 

resting obliquely on desk and on square plinth. Draw 
/LJ^S on Glass by sight with " Cross" crayon as explained 
t^/ in L. 1. 

Lesson 9. Three Models. On Paper. 
Use a small box on which stands a cube with three faces visible, 
the two sides showing unequally. Place a square prism obliquely 
against box. 

Follow directions in L. 2. 
Lesson 10. Small Child's Shoe. On Paper. 
Study through Glass. "Feel way around" on Glass with lead 
pencil and then sketch. Test by measuring the height 
and width on the Glass and by taking horizontal and 
vertical lines through important points, also by com- 
paring outlines with edges of frame. Shade drawing 
if there is time. 

Other more interesting objects such as open book, fruit and 
tumbler, vases, baskets, etc., may be studied if desired. 

224. These lessons have been planned for pupils who have 
been trained, year by year, according to lessons for lower grades. 
Without this training, pupils can not do the work. 

All beginners on the Glass, even those in Grade IX., must 
start with the simple lessons planned for the lowest grades. Ad- 
vanced pupils may, however, take them more rapidly than lower 
grade pupils. 

USE OF SPIRIT-LEVEL. 

Lesson 11. Trace Right Farther Corner of Desk. 

Pupil sit facing right corner of his own desk. Hold Glass with 
both hands at right angles to line from eye to corner 
of desk and without resting Glass on desk. Hold frame 
so that bubble remains in center of opening. Study 
edges of desk at corner, noting the angles which they 
make with the frame. Lay pencils on Glass to cover 
these edges, then trace them on the Glass with the "Cross" crayon. 

Pupil sit higher or lower and notice that each change makes 
the angles different. 

Lesson 12. Draw Left Farther Corner of Desk. 

Pupil sit facing left farther corner of desk and draw by sight 
on Glass, with "Cross" crayon, the edges of the desk 
at corner. Hold Glass to test drawing by reference 
to the spirit-level. Then place Glass flat on desk and 
correct and repeat effort till lines will cover those of 
desk. 





162 DRAWING AND PAINTING SELF-TAUGHT 

Then face corner of neighbor's desk and sketch by sight on the 
Glass. 

Lesson 13. Strawberry Box on Paper. 

Place at left corner of pupil's own desk. Study through Glass, 
then measure on Glass and apply tests previously ex- 
plained. Indicate the lines of desk behind the box. 
Finish with shading if possible. 
Lesson 14. Group on Paper. 

Place boxes on corner of desk. Draw with lead pen- 
cil. Study first through Glass by placing pencils, 
measuring, etc. 

Represent two edges of desk to show how models 
are placed on desk. 

Lesson 15. Umbrella. Draw on Paper. 

Hang six or eight umbrellas from top of blackboard. Study 
through Glass and refer to spirit-level. Shade if possible, with 
soft lead pencil. 

Lesson 16. Groups of Japanese Lanterns. 
Two or three lanterns in each group. Study through Glass, 
then sketch on paper and shade. Show background if it adds 
to the interest. 

GRADE IX. 
MODEL AND FURNITURE DRAWING. 

Lesson 1. Three Type Forms on Paper. 

Place objects on desk or on model rest not far away. Study 
through Glass, being careful to hold it at right angles to the 
line of vision and so that the bubble shows in the center of the 
spirit-level. Use all the tests explained in Grade VIII. Pupils 
will not "feel way around" or use any other test any longer than 
necessary, but will discard all tests as soon as they can see without 
them. 

Lesson 2. Model of Chair. By Sight on Glass. 

Make of stiff paper, as shown by Fig. 88, and fasten with paper 
clips. Place at back of pupil's own desk. Study through Glass 
but do not trace with " Cross" crayon. After careful study, 
draw by sight on Glass. When completed, test by looking through. 
Note errors and place Glass on desk and correct. No tracing of 
lines or points when testing. 

A toy table, made of stiff paper (see Fig. 88), is a good model. 
Place it at back of pupil's own desk and draw by sight on Glass 
with "Cross" crayon. 

Lesson 3. Larger Cardboard Chair. 

Change the design and place on the corner of desk in front of 



LESSONS FOR GRADED SCHOOLS 163 

pupil. Do not distribute "Cross" crayons. Study model by 
holding Glass at arm's length with bubble in center of level. Place 
pencils on Glass to cover edges and note angles with frame. Lo- 
cate points by plumb-lines, and by knitting needle, by measure- 
ments, etc. Sketch finally with lead pencil on paper. Test, 
correct, and shade if there is time. 

Lesson 4. Cardboard Table. On Paper. 

Change the design and increase size, and place model on corner 
of desk in opposite aisle. Use spirit-level whenever model is not 
in center of pupil's own desk. 

Proceed as in last lesson and draw on paper and shade if 
possible. 

Lesson 5. Chair by Sight on Glass and Paper. 

A simple chair on platform or desk. Study carefully through 
Glass. Continual reference to level is necessary, for the Glass 
is moved unconsciously, and the frame is misleading as a finder 
if it is not held horizontal. 

Sketch by sight, when the cover is behind the Glass. When 
complete, look through and test and correct, etc. 

Draw the same chair in different position by sight on paper, 
without use of the "Cross" crayon. Study first through Glass, 
then sketch on paper with lead pencil of medium grade, then 
test and correct. 

Draw the long lines of the room behind the chair and shade if 
there is time. 

Lesson 6. Table at front of room. 

Proceed as in last lesson, first drawing by sight on Glass, then 
after the position of the table has been slightly changed, making 
a drawing in pencil on paper. Shade if possible. 

Lesson 7. Stuffed Birds and Animals. 

A bird, about the size of a thrush, placed at back of pupil's 
own desk. 

First, trace bird with "Cross" crayon. Then erase tracing 
and face bird the opposite way and study through Glass carefully. 

Then trace on Glass a mark to show position of beak, and one 
to show tip of tail, and a third to show end of perch. Then lay 
Glass down and with the cardboard cover behind Glass sketch 
by sight on Glass with "Cross" crayon the bird and the pedestal, 
using the marked points to determine the size of the drawing. 
Test by looking through, then correct, etc. 

Tracing of points for the size is not wise generally, but the bird 
is so different from the models studied, that these points may be 
traced in the first lesson only. 

Lesson 8. Stuffed Bird. Draw on Glass. 

Place at back of pupil's own desk, study through Glass. Then 



164 DRAWING AND PAINTING SELF-TAUGHT 

place cover behind Glass and lay Glass on desk, and draw by 
sight on Glass with "Cross" crayon both bird and pedestal. No 
tracing of points to determine size. Test when completed. 

Lessons 9 and 10. Bird. Draw on Paper. 

Same bird as in last lesson. Study through Glass and "feel 
way around" on Glass. (See L. 6. Grade IV.) Then make 
shaded drawing on paper. Use very soft pencil for the darkest 
parts and one not quite so soft for the rest of the sketch. 



USE OF SPIRIT-LEVEL. 

Lessons 11 and 12. Larger Bird on Paper. 

Place on corner of next pupil's desk. Study through the Glass. 
Shade if there is time. 

Lessons 13 and 14. Stuffed Duck. 

Place on desk in front and across the aisle. Study through 
Glass by use of spirit-level. Then make shaded drawing on 
paper. 

Lessons 15 and 16. Stuffed Squirrel. 

Place on desk in front of pupil. Study through Glass and make 
shaded sketch on paper. 

The number of lessons required for these results can not be 
fixed, as much depends on the length of lesson and the prepara- 
tion in other grades. A double period is almost necessary for 
satisfactory results. 

Pupils in this grade can not do the same amount of work, for 
some need to be hurried, and others working at leisure can pro- 
duce twice as many drawings as their neighbors. 

If desired, the birds and animals may be studied before the 
furniture. In this case there should be more tracing and more 
drawing by sight on the Glass. 

PAPER MODELS MADE BY PUPILS FOR USE WITH GLASS. 

225. 1. Card 1%" square. 

2. Circular card h 1 /^" diameter. 

3. Oblong card b%," x 8". 

4. Cylindrical model from oblong 5%" x 12" and two 

circular cards 3J^" diameter. 

5. Circular plinth from oblong 2" x 12" without circles. 

6. Cube 2%". 

7. Square prism 2^" x 2^" x 5". 

8. Rectangular prism \y 2 " x 3^" x 6". 

9. Square plinth V/ % " x 4". 



LESSONS FOR GRADED SCHOOLS 165 

10. Table. ) 

11. Arm Chair. [ See Fig. 88. 

12. Plant Stand. ) 

The cube of 2%" is correct size for study of principles. For 
groups a 2J4" cube is needed. 

The square prism (No. 7) is correct size for study of principles. 
For groups a smaller one is necessary. 

When not in use these models can be kept flat in an envelope 
between drawing papers, and the clips which are used to fasten 
models together should also be kept in the same envelope. 

The models should be made of heavy construction paper, and 
before folding the lines should be creased by a pin. 




Grade IX. From mounted specimen. 



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PLANT STAND 



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Fig. 88. — Developments of paper models for individual use. 



Chapter X. 
ADVICE TO THE ART STUDENT. 

226. Art is More than Representation. — Art is superior 
to the facts of appearance. If this were not so the camera and 
the scientist would produce the best art. Art is a personal ex- 
pression not so much of the material and visual facts as of the 
spiritual. Art reflects the emotions and inspiration of the artist 
even more than it does the optical image. Therefore there can 
be no formulas, recipes, or short cuts, and you waste time and 
mone}^ and your chance of real success as long as you try to find 
or evolve such. 

227. Advertisements Deceptive. — If you can be satisfied to 
do commercial work that gives no reputation and slight returns, 
answer one of the many advertisements that seem to insure a 
short cut to fame and wealth ; but try at least to realize that these 
promises are every bit as absurd as they would be considered if 
they related to success as a pianist with no need for long practice 
or finger exercises. 

When education in art is as well understood as is education in 
music it will not pay to advertise the impossible feat of success 
in art without the years of hard work that the most talented re- 
quire under the best instruction. Sir Joshua Reynolds stated 
the facts as follows: 

" Excellence is never granted to man but as the result of labour. 
... A facility of drawing like that of playing upon a musical 
instrument cannot be acquired but by an infinite number of 
acts. . . . You must have no dependence on your own genius. 
If you have great talents, , industry will improve them; if you 
have but moderate abilities, industry will supply their deficiency. 
Nothing is denied to well directed labour, nothing is to be ob- 
tained without it. . . . I will venture to assert, that assiduity 
unabated by difficulty, and a disposition eagerly directed to the 
object of its pursuit will produce effects similar to those which 
some call the result of natural powers." 

228. Art Instruction Fails. — Art instruction is too generally 
directed to technique and finish or fads rather than to true vision. 
This crippling mistake is responsible for the general failure of 
art study whether in elementary or advanced schools, for the 
technique of any medium is difficult in proportion to the inability 



168 



DRAWING AND PAINTING SELF-TAUGHT 



to see truly. True vision will always find a way to expression, 
and therefore you must not believe that you should study water- 
colors, or oils, or pastels, or any other medium as if you were 




Fig. 89.— Public Library, by first-year student. 



studying different subjects. Until your eyes are true you should 
have but one problem, that of perfecting your vision, and no 
technique should be permitted that takes your attention largely 
from the thought of truthful representation. 



ADVICE TO THE ART STUDENT 169 

There are problems of technique that a teacher will aid in 
solving if you are not led to believe that there is only one right 
way. This idea is generally fatal to success, for the best way 
must be your own way, and you must find it, and change and 
develop it as your vision and your aims develop. 

If you see your teacher or any artist painting, try to see others 
solve the same problem that you may realize how artists work in 
such different ways that even when their vision is equally true, 
their results may have slight resemblance even when done from 
the same subject. 

Do not accept without question the opinions of any instructor 
or school, for specialists seldom have a broad education and often 
contradict each other. But when in any class or school you 
should do your best to follow the instruction given, and if you 
can not do this you should drop out. 

Art schools taught by painters often neglect theory and science, 
while those taught by educators theorize at the expense of draw- 
ing and painting. Thus you will seldom gain in one school all 
that you need unless you obtain aid outside the school from 
books or correspondence courses. 

229. The natural result of differences between teachers is a 
difference of opinion between artists, including those who teach 
and those who do not teach. On the one side are those who 
value the truthful vision the old masters had and who believe in 
trying to give students this vision even if it does take all the 
students' time for the six or eight years of art school study. On 
the other side are those artists who, realizing the failure of many 
good painters and draftsmen in the direction of design and com- 
position, believe the student should be taught to express himself 
freely at the expense of all scientific and exact nature study. 
This effort to gain art, at the expense of all refinement of form and 
truth of appearance, has proceeded so far as to have nearly proven 
the absurdity of this attempt to obtain something in art for 
nothing in effort. 

The methods of this book enable the average student to gain 
truthful vision in so short a time that there is no excuse for not 
studying memory drawing, design, and composition, and thus 
being able to do far better in that artistic free expression which 
is the master's pleasure, than is possible for those who have never 
had time to master the geometry of nature or the artist's percep- 
tion of her appearances. 

230. Anatomy Indispensable. — Anatomy is a difficult subject 
even for art school students who have lectures and casts and the 
life model to aid them, but you can master this subject if you are 
in earnest and will draw the bones and muscles and antique 



170 DRAWING AND PAINTING SELF-TAUGHT 

figure upon the Glass as you studied the geometric subjects. 
It is wise, however, not to make a theoretical study of anatomy 
until you can draw the geometric forms easily and have also 
gained power to draw well from casts of the antique. 

231. The Bones. — The skeleton is the basis of all outward 
forms, and so you should begin by drawing it in all possible posi- 
tions. If you can not draw from a mounted skeleton which may 
be in some museum, art school, or doctor's office, you may be 
able to borrow parts of the skeleton, such as the skull and the arm 
and the leg, or you may be able to purchase casts or models of 
these, and the other principal bones. You should draw these 
on the Glass in all possible positions, and then you should draw 
them from memory until you can draw them in any position 
which they may be imagined to have. When able to give action 
and foreshortening on the Glass you should draw on paper and 
give the details. 

A lay figure will greatly aid the student. These may be found 
of all sizes and prices up to life size, but an inexpensive small 
one will suggest the action and proportion and greatly aid in 
drawing the bones and muscles. 

232. The Muscles. — After this practice buy anatomical 
plaster casts of the head, hand, and foot, showing the surface 
muscles, and draw these in all possible positions, first on the 
Glass and later on paper. As you draw the muscles you should 
study books on anatomy to learn the names of the bones and 
muscles, and the attachments and actions of the muscles. You 
should also try to find opportunity to study a cast of the entire 
figure that shows all the surface muscles. 

233. The Antique. — Now buy casts of details of the figure 
including the head, hand, foot, the eye, ear, mouth, and nose, and 
draw these in many different positions on the Glass, and when you 
succeed on the Glass draw all these details on paper. 

You should now be able to draw the skeleton and the surface 
muscles as they would appear within the casts of the antique to 
be found in art museums. If you can not visit museums for 
study, buy the largest cast of the entire figure that you can afford, 
and draw it on the Glass in all possible positions. Afterwards 
draw it on paper, representing the bones and muscles, and draw 
this figure often from memory. 

234. Draw from Life. — Draw from life also in a sketch-book 
which you should always carry. Draw the seated people you 
may find in parks, and those walking, working, or playing, that 
you may see. Draw them from memory as well as from obser- 
vation. In the gymnasium and at the beach and swimming pool 
you have a fine chance to study the figure in action and prove 



ADVICE TO THE ART STUDENT 171 

the knowledge you have gained from the books and casts. If 
several students in the same town are studying drawing, they may 
form a sketch class and take turns in posing or in supplying a 
model. Where there is a will the way will be found even in this 
most difficult subject. 

You need never lack a subject from which to study the figure 
if you have a couple of large mirrors at your disposal, for in one 
you can draw yourself as seen from in front, and by use of two 
you can draw yourself in many other positions. 

235. Excellent practice may also be had by copying drawings 
and photographs of people and animals and of sculpture. These 
are fine subjects for memory drawings. 

The above course of study will give you more power to draw 
the figure than you will gain in any course on anatomy that con- 
sists simply of the study of books and copying charts and black- 
board drawings. 

236. Perspective. — In Ruskin's day the laws of free-hand 
perspective had not been formulated, and the distortions of plane 
perspective prevented students from seeing truly. If you wish 
to be a painter or a sculptor you may not need, more than the 
theory of free-hand perspective, but if you intend to be an illus- 
trator, decorator, architect, or teacher you need the full science 
that determines the direction and length of every line by use 
of its vanishing and measuring points or by use of working draw- 
ings. 

237. Still Life. — Whatever your ambition you should master 
still life in outline, values and color, for true vision comes faster 
from still life study than from any other subject, and you will 
save time in figure painting by the study of still life. 

I have given no directions for the drawing and painting of the 
figure, because you will not need more assistance than that de- 
rived from your study of the subjects that I have explained. 

The lenses will aid you as much in figure painting as in any 
other subject. This is proven by the requests that I have had 
from artists for large size lenses for use in their own figure painting. 

238. Working Drawings. — Every High School graduate 
should be able to read and make working drawings, construct 
the figures of plane geometry, and define the lines, angles, plane 
figures, and solids of geometry. If without this knowledge, the 
student should gain at least as much as is given in Chapters I, 
II, III, IV, and XI and under Definitions of "Mechanical Draw- 
ing" by the author. 

It is a mistake for art schools not to give this instruction, for 
whatever you are to do you should be able to make simple plans 
and elevations. A friend who is a portrait painter once said to 



172 DRAWING AND PAINTING SELF-TAUGHT 

me that the year of study he gave to mechanical drawing was 
of more benefit to him than any other part of his art school course. 

239. Art School Study. — When all possible power has been 
gained in a few years of home study the student is advised to 
attend some art school where he may draw, paint, and model 
the human figure, and work in the composition and sketch classes. 
As helpful as these classes is the association with the strong 
students of the advanced classes, and often the serious student 
will be able to enter advanced classes with very brief study in 
preparatory classes. Art schools may not be necessary for those 
of great genius, but they are advisable, and the student should 
make every effort to study in one for at least two or three years 
after he has done all he can at home. The student who finds 
this impossible may console himself by finding out how many 
artists have succeeded without the aid of art schools even when 
art study has been delayed to mature life. 

240. General Education Necessary. — Some parents think 
that a child who has no special talent for other studies may succeed 
in an art school, and so many students waste time and money be- 
cause they lack general education and sometimes the ability to 
acquire it. 

The art student should have at least High School training, and 
College is preferable if drawing and painting can be studied 
throughout this course. 

Special attention should be given to the History of Art, Archi- 
tecture, Ornament and Costumes, for without this study the artist 
is confined to subjects before his eyes, and special illustrations 
at short notice are impossible. Edwin A. Abbey is said to have 
paid out for models and costumes more than he received for 
some of his works, and once he traveled from England to Spain 
to draw one subject from nature. He thus set an example which 
the student should study with profit, though in his later years 
Abbey might have improved his art if he had trained his memory 
to be* less confined to the model. 

241. Defer Technical Study. — Do not specialize for Design, 
Decoration, the Crafts, or any special trades until after you have 
had at least two or three years of drawing and painting in the 
best art school you can find or have gained the equivalent by 
the use of the Glass and lenses at home. 

Industrial art is not possible without designers who are artists, 
by birth and training, and you waste your time and chances if 
you begin in any technical school that does not make its first 
instruction include that of the school of fine art. When you can 
draw and paint and take rank as an artist it will be a simple thing 
for you to master the technique of any industry or art and succeed 



ADVICE TO THE ART STUDENT 173 

far better than you could by making this your special effort 
from the start. The best paid designers are generally those who 
have had training as artists as well as designers. 

The artist's problems are difficult, and so specialists have not 
insisted on a preparatory art school training; but now the methods 
of this book so shorten the time formerly required for true vision, 
that those who would succeed in industrial art must give time 
to the study of fine art. 

242. Art Includes All Beauty. — Some of the finest art 
ever produced was made in the Orient hundreds of years ago. 
Machinery has made it as cheap to apply too much ornament 
as the proper quantity which the artist would have used. Thus 
the artisan and the machine have supplanted the artist. 

Whistler's Judgment. — "If art be rare to-day it was seldom 
heretofore. It is false this teaching of decay. The master stands 
in no relation to the moment at which he occurs. ... He is no 
more the product of civilization than is the scientific truth as- 
serted dependent upon the wisdom of a period. The assertion 
itself requires the man to make it. The truth was from the be- 
ginning. 

"So Art is limited to the infinite and beginning there can not 
progress. . . . Art cares not and hies her off to the East to find a 
favorite with whom she lingers caressing his blue porcelain in- 
different to all save the virtue of his refinement. 

"And again to the West that her next lover may bring together 
the gallery at Madrid and show to the world how the master 
towers above all; and in their intimacy they revel, he and she, 
in this knowledge; and he knows the happiness untasted by other 
mortal." (From "Ten O'Clock.") 

243. Apply Art to Industry. — Though Whistler told the truth 
about the rarity of really great art you need not give up your 
study of art, or your intention of applying it to some vocation. 
Though you may not be one of the few great artists, you may 
still develop such refined perception for form and color that you 
may aid in directing public taste from the cheap and vulgar to 
the chaste and beautiful. 

You may surely do this and enjoy your life and work if you 
are in earnest. But if reading this chapter and one of the same 
heading in "Light and Shade" can turn you from the study of 
.art, then it is wise for you to find some other subject in which 
you can be more interested to really work hard. You can not 
succeed in any work unless you have faith in yourself and such 
love for the work that you refuse to accept failure as final, no 
matter how long success may be deferred. 

When you have gained rank as an artist, if you are not able to 



174 DRAWING AND PAINTING SELF-TAUGHT 

sell your pictures, you should apply your power to some com- 
mercial or industrial art, for it is wiser to gain a living in this 
way and be free to paint as you like for pleasure, than to feel 
obliged to paint as you do not wish to, in order to dispose of your 
work. 

244. Refuse to Fail. — If tempted by discouragement read 
the lives of the noted artists and inventors and discover how often 
their success has come after years and even a lifetime of failure. 
Recently the papers told how Edison had failed hundreds of 
times before he solved a problem that seemed very simple. Sar- 
gent, who is now said by some to be the world's greatest painter, 
works more hours daily than the majority of students, and still 
scrapes his canvas clean many times before he gains a result 
that he is willing to keep. 

You will therefore be wise to conclude that success is the result 
of refusing to accept failure as final; and of working patiently 
on each picture until you make it as perfect as you can see and 
feel. 

Whether your final style will be due to direct solid brush work, 
or to indirect methods, you must have faith in yourself, for nothing 
is more fatal to health and success than fear. If you are unfor- 
tunate enough to believe in luck or fate, or inherited conditions, 
you should read the book "Success is for You" by Dorothy Quig- 
ley, and discover that education may increase brain power to 
such an extent that children so deficient mentally as to be en- 
tirely unable to attend public schools, may gain average mental 
power by study in a special school for such students. 

245. Believe in Yourself. — Some students are fortunate in 
inherited ability that brings success at an early age, but many 
who think they are thus favored, and who trust to their genius 
more than to hard work, fail to maintain their fortunate start. 
Many others who have been failures in school secure permanent 
success through the gradual development of their power which 
comes from the capacity for taking infinite pains. Scientists now 
admit that undesirable inherited qualities may be overcome, and 
good qualities greatly increased. You should therefore have 
faith in your inherited abilities and greater faith in those latent 
powers that may be developed by patient hard work. 

246. Believe in a Higher Power. — Your chances of success 
will also be increased if you can have a religious faith in a power 
greater than your own that inspires to the best, and aids all 
honest, unselfish effort. Belief in an omnipotent source that 
rules with love and justice, and rewards faith, prayer, and all 
right effort will enable you to overcome failures until they lead 
to final success. 



ADVICE TO THE ART STUDENT 175 

Honest students of nature have in all ages gained very similar 
views of the Unity of God and man and the reality of a life after 
this, and if it is possible for you to declare confidently that it is 
"God who worketh in you and through you" your power will be 
increased equally with your joy in living. 



■ 






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Grade IX. From mounted specimen. 



Chapter XI. 
THE FAILURE OF EDUCATION. 

247. Graft. — A significant incident came to my attention 
•during the war. At a gathering of artists and teachers, the much 
discussed subject of war graft became the topic of conversation. 
One of those present remarked that graft was not confined to 
business and politics but is so potent in education that educators 
do not feel secure in their positions or free to teach as they wish. 

A member of a School Board said that he had recently known 
of a teacher who paid a member of a School Board fifty dollars 
upon receiving an appointment as teacher. 

An interested teacher described the effort of an agent for a 
book firm to obtain an order, and said that when the agent 
found he could not make a sale he said, "It may be worth while 
for you to know that Committees often act upon the suggestions 
of our firm as to the fitness or unfitness of a teacher." Shortly 
after this when this teacher was not re-elected and no reason was 
given for the discharge, the instructor remembered the agent's 
words and wondered if they were based upon a power able to 
influence the School Board. 

248. Teachers Not Free. — An artist who taught part of the 
time then took the floor and related that she had been obliged to 
change her course in drawing by the report of a special committee 
of experts appointed by the School Board. She was positive 
that the members of this advisory committee were not influenced 
either directly or indirectly by selfish or financial interests, and 
yet their report forced her either to give up teaching or to sub- 
stitute for her course one more in harmony with those of text- 
book publishers. 

An instructor in one of the most noted schools in the country 
informed us that the report of a similar committee had caused 
free-hand drawing to be dropped from the course in spite of the 
objections of the Dean and his Faculty. 

249. Teachers Not Respected. — Another teacher arose to 
say that teachers were resigning, not so much on account of the 
larger salaries in business, as to escape the influences that have 
changed ideals in the school-room and out, so that the teacher 
is less respected than formerly. She said that pupils are not 
taught obedience and respect in many homes, and that in some 



FIRST-YEAR STUDENT'S HOME WORK. 





Fig. 90. — Each student made many sketches outside the school. Unsatis- 
factory work was rejected until acceptable sketches could be made without 

assistance. 



178 



DRAWING AND PAINTING SELF-TAUGHT 



schools teachers are not permitted to enforce obedience or per- 
sonally punish or discipline to secure order and the hard work 
that is needed for good lessons. Thus the teachers now have to 











Fig. 91. — Faneuil Hall, by first-year student. 

do much for the pupils that was not required formerly. In ad- 
dition there are so many outside demands for posters, fairs, pag- 
eants, etc. that there is little time left for instruction. 

250. Teachers Overworked. — A special instructor said that 



THE FAILURE OF EDUCATION 179 

another reason for the failure of the average student is the fact 
that teachers have so much to do as clerks that they do not have 
time or strength for teaching. She read the following from "Com- 
mon Ground" (July, 1921):— 

"Few indeed are the teachers who have not at some time or 
other pondered whether they were really teachers or clerks who 
did teaching between times. In other words there is need for 
relieving teachers of a greater part of the clerical work which is 
now assigned to them, so that they may be free to devote their 
time and strength to their proper work of teaching." The follow- 
ing was then read from the Journal of Education : — 

"Teaching as it has been traditionalized in the last quarter of a 
century has been a strain on all class room teachers and the 
multitude of new requirements have been an overstrain." 

251. Under the influences that have opposed drawing from 
nature in the Grammar School, there has been substituted much 
in the line of manual training. This work is interesting and 
valuable and makes an attractive exhibition, but often forces 
the Director who wishes to teach real drawing, to give up this 
effort and devote the time to some constructive work which has 
been seen and admired in the exhibit of a neighboring town. 
Thus it happens that High School graduates are seldom able to 
draw from objects, and often do not understand the simplest 
geometrical terms, for the study of geometrical and working 
drawings is as much neglected as that of object drawing. I would 
not omit the cutting and making of patterns and models. On the 
contrary, I would add to its importance by sometimes making 
the models from working drawings, but I do object to the entire 
neglect of object drawing and often equal neglect of working 
drawings. 

252. Graduated Instead of Instructed. — Another teacher 
said that the conscientious instructor is often forced to give up 
either her position or the effort to maintain high standards of 
work by those above her who insist on diplomas for students 
who have failed in their studies. Others said that they had been 
forced to pass students who had not tried to study so often that 
they had found it impossible to maintain high standards in dis- 
cipline or examinations. As a result, students graduate with the 
idea that success is possible without effort. 

253. College Graduates Deficient.— Pres. K. C. M. Sills of 
Bowdoin College says in his report of 1921 : "There are two weak- 
nesses so glaring they call for extended comment. There is a 
very general complaint on the part not only of business men but 
also of men in professional life that the College graduate of today 
cannot write decent English." 



180 DRAWING AND PAINTING SELF-TAUGHT 

"A second defect is found in the unwillingness of the College 
graduate of today to assume responsibility. He thinks it is his 
right that the College should give him an education, and that the 
responsibility is on the College and not on him." 

254. This report says, "It is impossible to prove that graduates 
today are not as competent as in former days," therefore I wish 
to print in full the course required in different years in the Fresh- 
man Class in the Art school in which I have taught continuously 
from September, 1883, to January, 1921. The students were 
High School graduates who came from the entire state. 

FRESHMAN WORK IN 1883-84. 
INSTRUMENTAL DRAWINGS. 

1. Geometrical problems. 2. Perspective. 3. Orthographic 
Projection. 4. Machine Drawing. 5. Building Construction. 
6. Isometric Projection. 7. Projection of Shadows. 

The above were finished in red and black ink lines and often 
upon washes of color, and there were numerous lecture sheets on 
each of the seven subjects. 

FREE-HAND DRAWINGS. 

8. Models in outline. 9. Models in chalk. 10. Models in 
water-color monochrome. 11. Models in charcoal. 12. Outline 
from cast of ornament. 13. Outline from foliage from nature. 
14. Outline from cast of detail of human figure. 15. Outline 
from cast of animal. 16. Outline from furniture. 17. Charcoal 
or chalk point from cast of ornament. 18. Cast shaded with 
sepia or India ink. 19. Original Design from plant to fill geo- 
metric form. 20. Design for Encaustic Tile, Book Cover, Cotton 
Print, Oil Cloth, Wall Paper or Lace. 21. Specimen Drawing 
Exercises for public schools. 22. Painting in water-color of a 
flower from nature. 23. Analysis of styles of Historic Ornament. 
24. Botanical Analysis of plant and four designs from it. 

Examinations. 

1. Plane Geometrical Drawing. 2. Orthographic Projection. 
3. Perspective Practice. 4. Perspective Theory. 5. Model 
Drawing from solid. 6. Isometric Projection. 7. Projection of 
Shadows. 8. Machine Drawing. 9. Building Construction. 
10. Historic Ornament. 11. Harmony of Color. 12. Drawing 
from Dictation. 13. Normal Instruction. — Examinations during 
the year and finals at the end were given in the above subjects. 




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182 DRAWING AND PAINTING SELF-TAUGHT 



FRESHMAN WORK IN 1907-08. 
CERTIFICATE DRAWINGS. 

1. Problems in Plane Geometry (Instrumental). 2. Model 
drawing in outline. 3. Group of common objects in outline. 
4. Light and shade from colored objects. 5. Light and shade 
from draperies. 6. Light and shade from cast of historic orna- 
ment. 7. Details of human figure from cast. 8. Details of 
animal form from cast. 9. Details from historic schools of orna- 
ment. 10. Pencil, pen and ink and brush rendering from approved 
examples. 11. Water-color studies from still life and flowers. 
12. Applied design. 

Examinations. 

1. Plane geometric problems (Instrumental). 2. Theory of 
Model Drawing. 3. Drawing from details of the antique. 4. 
Drawing from objects. 5. Historic Ornament and design. 

255. Lowered Standards. — The required work in 1908 equals 
46% of that required in 1884. Most of the students prior to 1900 
were able to complete the class in one year. After 1900 the 
majority required two years to do this work, and so the six diffi- 
cult scientific subjects which occasioned most of the failures were 
dropped, and less was required in the free-hand subjects. 

In still more recent years the requirements were further reduced, 
with the result that the graduates have not been as successful 
as those of the years in which Walter Smith's courses were in 
effect. This was recognized, and some of the scientific subjects 
were put back within a few years. The students find these sub- 
jects difficult because of lack of preparation in the High School, 
but the serious ones are able to master them and do good work. In 
free-hand drawing the students of recent years have done better 
work than has ever been produced in the school; thus proving 
there is no lack of brain power, but of the sound and broad pre- 
paratory training which made the students in the early years of 
the school better able to do independent hard work and under- 
stand scientific subjects.* 

256. Ethical Training Needed. — The failure in education 
arises from the failure of the home and the church to maintain 

* Since these pages were written many changes have been made in the school. The require- 
ments for admission and for graduation and the hours of study have been increased. Specializ- 
ing in the lower classes has been stopped and more earnest effort demanded in all the classes. 

It will take many years to fully overcome unsatisfactory conditions in education, for the 
causes are not local, and no individual can quickly influence the thought of a State or a Nation. 
But if the State will support this new effort to get back to the sane ideals of earlier days, it 
may in time prove that success in art and in industry equally demand the old-fashioned training 
in both Science and Art that Walter Smith fought for at the expense of fortune and life. 



THE FAILURE OF EDUCATION 183 

the high ideals of those who founded this nation. The desire 
for wealth has led to graft and corruption that are felt in every 
direction, so that we are compared with Rome before its fall and 
told that its fate will become ours if we do not quickly find a way 
to end graft by taking our offices out of political control and doing 
away with the injustice that threatens us now. 

It is often claimed by those whose opinions are worthy of 
serious consideration that religion is the most important factor 
in the life of a nation. If this is true, it is important to find some 
way to give to all children simple ethical training in the truths 
that all religions accept, which must be believed and practiced by 
the individual or nation that is to live and prosper. Such es- 
sentials can be taught without coming under the head of religious 
teaching. In fact, I believe this instruction is now demanded by 
the law of 1860 which specifies that "good behaviour" shall be one 
of the required subjects. 

257. Artists on School Boards. — The remedy for every evil is 
knowledge, and those affecting art education today will be over- 
come when the best artists and designers of the nation are able to 
act as members of School Boards and State Boards of Education. 

As far as possible every such Board should have among its 
members the best painter and the best sculptor together with the 
best architect. It may not be possible to find enough men of these 
professions to serve in smaller cities and towns, but they can be 
found for State Boards and State Schools and the larger cities. 
Their influence in these places will in time be felt in all others, 
and cause drawing to be more practical and helpful, and to mean 
the elements of real drawing instead of the superficial showy 
work that now so often causes neglect of the elements. 

258. National Control. — National control is advocated as the 
remedy, but when we investigate its results abroad, we question 
whether it will be a benefit before selfish motives can be sup- 
planted by the desire for public good. 

State and National control should mean that the best methods 
are explained and aid given to overcome local difficulties. Such 
control should suggest results desired and ways to attain them, 
but it should not enforce detailed steps, methods, exercises, and 
technique, or forbid original experiments. It should commend 
good results that prove power to see truly and work independently, 
regardless of the technique and methods. 

Supervision that rigidly fixes details of subject, medium, and 
technique will do more harm than good, for even if the Director 
were a second Michael Angelo, he would fail, if he attempted to 
destroy the individuality and freedom of his assistants. Rigid 
rules for technique and methods emanate from amateurs and 



184 DRAWING AND PAINTING SELF-TAUGHT 

publishers. Even if a strong artist should attempt to formulate 
them for general use he would fail to benefit the teachers he was 
trying to aid, for they would not understand or apply them 
correctly. 

Art requires freedom and spontaneous expression, without 
much thought of technique. The educator who insists on 
thought about subject, technique, and pedagogical steps thus 
renders art impossible. 

There is no question about the good that could be done by a 
National Art Director if one could be found as competent and 
courageous as Prof. Walter Smith; provided he could be upheld 
in his judgment, which would of course be as unsatisfactory to 
the publishers as was that of Professor Smith. Those who know 
the influences that are exerted upon officials will hesitate to 
further increase government control of art education until such 
control can be freed from the influences of big business. 

259. Drawing Courses Controlled. — From Walter Smith's 
time to the present the adoption and use of books and materials 
have often been secured by means and methods little suspected by 
the • general public. Those who are informed say that the field 
of education has proven as profitable and as susceptible to trust 
methods as other lines of public necessities. 

When drawing books were generally used by all the pupils 
in all the grades, the yearly sales were very large and the profits 
so great that every effort was made to secure adoptions. In 
recent years books for pupils have been less used, and today the 
drawing teacher has no conception of the conditions that ruled 
a few years ago when positions were so largely controlled by the 
firms whose books were most widely used. Today publishers' 
influences relating to drawing instruction are felt most in the 
selection of teachers whose recommendations for positions may 
be withdrawn if the teacher asserts that he will be independent 
and absolutely free to use whatever books or methods seem best 
to him. 

The most pernicious influence in elementary schools arises 
from the power of the text-book firms to plan the instruction 
that shall be given in these schools and almost force its adoption 
by indirect means that are never even suspected. How complete 
this control is will be discovered if, perchance, the strongest 
painter in the country should be appointed to any School Board 
with the idea of making drawing in the public schools more 
practical. The chances are that after a few years of futile effort 
this artist would resign in despair of ever changing the fashions 
that seem to regulate what shall be taught in the drawing 
course as rigidly as the fashions in dress fix the cut and length 
of sleeves and skirts. 



THE FAILURE OF EDUCATION 185 

The applicant for a position to teach drawing in the public 
and elementary schools is asked first for the diploma or degree 
of some School. Without this diploma professional power to 
draw and paint and even success as a teacher count for but little, 
and the independent teacher of ability has little chance to keep a 
position except by following the latest fashions, no matter how 
absurd they ma}' be. 

260. Kansas State Law. — Frequent complaints are heard 
from teachers that they are forced to change books and methods 
so often that the pupils barely begin to succeed with a method 
before they are forced to change to another. Teachers can not 
publish facts that reflect on the influences back of changes in 
text-books, therefore little becomes public; but it is a fact that 
the State of Kansas has passed a law which does away with text- 
book influences upon local School Boards. 

"This law provides that a commission selected for that pur- 
pose, after a thorough examination of all the samples submitted, 
shall designate the books best suited to the schools of our state, 
and that then these shall be the basal texts used throughout the 
state, supplemented only by other books likewise chosen by this 
commission. 

"Some of these texts, in fact all texts used in the elementary 
schools are now printed at our own State Printing Plant, the 
original manuscripts having been purchased by the State, or a 
royalty being paid on the plates. 

"This action was taken for several' reasons, — lower cost, greater 
convenience to pupils and patrons, and the many advantages of 
uniformity being the chief ones." 

Other advantages than those named result from this plan, and 
it seems that Kansas has shown the way to great improvement 
in our education. 



Chapter XII. 
STATE LAWS ON DRAWING. 

261. Drawing a Required Subject. — Recently a School Board 
made drawing an optional study in Grammar Schools, thus de- 
stroying its value. This action was taken in ignorance of the 
following laws: — 

Gen. Laws, Ch. 71, S. 1, as amended. "Every town shall 
maintain ... a sufficient number pf schools . . . and shall give 
instruction in orthography, reading, writing, the English lan- 
guage and grammar, geography, arithmetic, drawing, the history 
of the United States, the duties of citizenship, physiology and 
hygiene, good behaviour, in-door and out-door games and athletic 
exercise. ..." 

Gen. Laws, Ch. 71, S. 18. "Evening Schools." "Any town 
may, and every town in which there are issued certificates author- 
izing the employment of twenty or more persons who do not 
possess the educational qualifications enumerated in Sect. 1 of 
Chap. 76, shall, maintain for not less than forty evenings during 
the following year an evening school or schools for the instruc- 
tion of persons over fourteen years of age, in orthography, read- 
ing, writing, the English language and grammar, geography, 
arithmetic, industrial drawing both free-hand and mechanical, 
the history of the United States, physiology and hygiene and 
good behaviour. ..." 

262. The amendment which made drawing a required sub- 
ject was passed May 16, 1870, and the wisdom of this act has 
not been questioned until the present time. One of the most 
noted educators in the country recently wrote as follows: "I 
doubt if the School Committee that will make drawing an op- 
tional study can properly be called educators." 

263. Publishers' Responsibility. — The condition of drawing 
today is the logical result of the effort to make drawing interest- 
ing by substituting for the hard work of truthful study from 
nature, the easier problem of copying to produce results more 
attractive to the untrained eye. 

The first retrograde step was taken when the publishers printed 
dots in spaces formerly blank, that copies might be produced 
more quickly and more books sold in a year. 

The next step was to take out the difficult problems in in- 



STATE LAWS ON DRAWING 187 

strumental drawing. After this, drawing from objects and 
nature was supplanted by picture study and illustrative work 
made without visual training in perspective. The last step was 
taken when text-books for pupils were published with the state- 
ment that the power to draw from objects is of such slight value, 
that the study of design and art should take its place in the 
Grammar Grades. 

School graduates never had so little power in drawing from 
objects as they manifest today, and it is not strange that an 
effort should be made to make drawing an optional study by 
those not well informed on this subject. 

But this failure in free-hand drawing is not the failure of a 
true drawing course, but of a narrow and weak substitute forced 
upon this age through the control of education by financial in- 
terests. 

264. Teachers' Responsibility. — Teachers are in part respon- 
sible for this condition, since the publishers have sought to pro- 
duce books that would sell to the largest number, by consulting 
teachers everywhere and trying to combine their differing opin- 
ions so as to please all. Too many cooks spoil the broth, and 
in this instance have not only made drawing of little value in 
the schools, but have brought about decreased sales of books 
for pupils' use that seems just retribution. 

265. Publishers can not shift all responsibility to the teachers, 
for they exerted their authority against the sane education planned 
by Walter Smith and forced him to relinquish his rights and 
supervision entirely. If they had wisely exerted their power 
in favor of a sound education instead of popular and, for the 
moment, salable fads they might have retained a profitable 
business and increased the value of drawing in the schools. 

If half the effort and money expended in the past forty years 
in chasing fads and unrelated ideals of the rainbow nature had 
been spent under the continued direction of Walter Smith, this 
nation would today be the best informed on fine and industrial 
art lines of any nation on earth. 

266. Report of College Examiners. — To show that I have 
not over-stated the evil results of text-book control and the 
changes that are needed if this nation is to maintain itself as a 
manufacturing nation, I will quote from a letter published by 
the Board of College Entrance Examiners of New York on March 
30, 1918:— 

"In the opinion of the committee of examiners in Freehand 
Drawing, the quality of the work in the examinations in this 
subject has, in spite of the new set of requirements adopted in 
1912, shown so little improvement, that it seems best to this 



188 DRAWING AND PAINTING SELF-TAUGHT 

committee again to call the attention of teachers to these new 
requirements, a copy of which is appended, and to state briefly 
something of what it understands to have been the general aims 
of the committee which drew them up. 

"In the opinion of the present committee of examiners, the 
general purpose of the new requirements was to encourage system- 
atic training in drawing as a means of description of form, as a 
valuable mode of expression in itself, useful in connection with 
almost every occupation and profession, and also as an invaluable 
aid in the development of the power of observation. At the 
same time the committee of revision., wished to discourage as far 
as possible the superficial attempts at 'artistic' production which 
have unfortunately been common in preparatory school work. 
It felt that a clear distinction ought to be made between design 
in the terms of drawing or painting on a flat surface, and the 
description of the aspect of objects by means of drawing. The 
latter is a useful means of expression like a language; and in the 
teaching of drawing from this point of view, accuracy of obser- 
vation and of description should be recognized as of primary 
importance. The principles of design, on the other hand, can be 
taught much better in connection with abstract drawing and 
painting in lines and flat tones in which representation is either 
suppressed entirely or subordinated to the aim of orderly arrange- 
ment. The attempt to combine the two points of view in the 
production of works that shall look "artistic'' has, under present 
conditions of preparatory school teaching, usually led to results 
which have been unsatisfactory both from the standpoint of 
design and from that of representation of form, and has, by its 
superficial pretence, actually tended to degrade the taste and to 
blunt, rather than to sharpen, the observation of the pupils. 

"In the opinion of the committee of examiners, school courses 
should be so arranged that courses in design come in the lower 
grades, for children can be taught the fundamental principles 
of order at a very early age, and thej^ take readily to practice 
in design as well as to representation in the abstract mode of 
line and flat tone. On the other hand, the accurate description 
of objects as existing in the round, involving an understanding of 
perspective projection, is usually too difficult for younger children, 
and this may very well be confined to the higher grades, perhaps 
to the high school. In this kind of drawing most valuable train- 
ing in taste may at the same time be secured by the selection of 
objects to be drawn with regard to their quality from the point of 
view of design. There is no better way to stimulate one's sense 
of beauty than to make accurate studies of works of art or of fine 
natural form. Examples of the work of the greatest draughtsmen 



STATE LAWS ON DRAWING 189 

of the world are now easily accessible in the form of photographs, 
and these ought to be constantly studied and some of them copied 
as standards of performance. For use of line, Egyptian wall- 
paintings, Greek vase-paintings, Chinese, Japanese, and Persian 
paintings or drawings are especially to be recommended; for 
expression of form by means of shading, the figure drawing of 
the great masters of the Renaissance are especially instructive. 

"To make the work of the higher grades more definite and 
systematic, the committee of revision thought that it was better 
to leave out the expression of color values; and particular atten- 
tion is now called to the statement in the requirements, 'without 
attempt to represent color or color values', and to the customary 
phrase in the examination questions, 'without regard to color 
value'. By color value is of course meant the degree of lightness 
or darkness due to the actual color (the local tone) of the object, 
as opposed to the lightness or darkness due to the relative illu- 
mination of surface. On account of the greater complexity of 
value relations involved, as well as on account of the comparative 
ease with which a certain specious pictorial effect may be ob- 
tained, the attempt to express color values has, under preparatory 
school conditions, tended to induce inaccurate and slovenly 
work; but it ought to be possible, on the other hand, to give in 
these schools entirely adequate training in accurate description 
of the form of simple objects in light and shade — that is, drawing 
in which the attention is confined to the rendering of relative 
illumination of surface. 

"The examiners do not wish to prescribe any particular tech- 
nique of shading, but they do wish to make clear what kind of 
drawing is expected on the examination papers. They also wish 
to emphasize the fact that, with all consideration of color values 
omitted, the expression of form by a rendering of the relative 
degrees of illumination of the different planes of modelling may 
be perfectly achieved. The representation of the different degrees 
of shade may be abstract, in two or three tones, giving only the 
main distinctions of light and shade (objects seen in sunlight 
make especially good subjects for this kind of drawing on account 
of the clean-cut division between light and shade), or it may give 
complete modelling. 

"Aside from the question of omission of color values, the draw- 
ings submitted by candidates in this subject have revealed most 
serious faults. They have indicated, first of all, a lack of proper 
training in the establishment of positions and measures in the 
laying out of the drawings; too little stress has been laid on the 
fundamental principles of perspective; and not enough attention 
has been given to training in the understanding of the structure 
of the objects drawn. 



190 DRAWING AND PAINTING SELF-TAUGHT 

"DRAWING 

" One unit 

"The requirement in Drawing is based upon the statement of entrance require- 
ments in this subject as contained in the catalogues of colleges and universities 
represented in the College Entrance Examination Board. 

"The candidate's preparation in drawing should be directed 
toward training him in accurate observation and in definite and 
truthful representation of form, without attempt to represent 
color or color values. 

"The candidate should be able to show correctly and with 
lines of good quality simple form in correct perspective in the 
size in which it is felt in the plane of the drawing, or larger or 
smaller. It is recommended that pupils should be taught to 
draw from the object itself rather than from the flat. 

"Correctness of proportion and accuracy in the angles and 
curves and structural relations of the parts of every object drawn 
are of the highest importance. 

"The elementary principles of perspective are to be thoroughly 
learned, and the candidate should be able to apply them in free- 
hand drawing from the object or from the imagination. 

"No definite prescription as to method of teaching is made. 
The examination will test the preparation of the candidate in 
the following points: 

"1. Ability to sketch from the object with reasonable correct- 
ness as to proportion, structure, and form. It is rec- 
ommended that the subjects drawn include simple 
geometrical objects and simple natural objects such as 
living plant forms. 
"2. Ability to sketch free-hand from dictation with reasonable 
accuracy any simple geometrical figure or combination 
of figures. 
"3. Ability to represent accurately in perspective a simple 
geometrical solid of which projection drawings are 
given, and ability to make consistent projection draw- 
ings of a simple geometrical solid of which a perspective 
representation is given. 
"4. Ability to answer questions in regard to the principles 

involved in making these drawings." 
267. The above report is a hopeful promise for the future, 
for students who meet these requirements must have all the 
industrial and scientific training planned by Walter Smith and 
also the power to draw free-hand from objects. 

The letter conforms to general belief in advising against object 



STATE LAWS ON DRAWING 191 

drawing in the Grammar Schools and the representation of color 
values in light and shade study. 

In view of the difficulty of doing such work honestly by present 
methods this advice seemed necessary, but if the authors of this 
letter could have seen the children pictured in Fig. 75 at work 
their opinion would have been different. 

If they could have seen the production of the Frontispiece 
they would have realized that the Painting Glass makes it easier 
to represent all light and shade and color appearances than it is 
to work conventionally by any plan that divorces the representa- 
tion from the true appearance. 

Either the drawing lesson means that we are teaching pupils 
to see truly, or that we are teaching them not to see at all. Un- 
fortunately this latter is the result of much instruction now given 
and, until the effort for conventional modes of expression ceases 
and it is realized that truth is easier and more interesting than 
conventions, little progress can be made. 

268. Madame Cave's Method. — The aversion toward object 
and industrial drawing is not a new thing, and neither is the 
method of this book entirely new, as will appear from the follow- 
ing, written by Eugene Delacroix, which appeared in the Revue 
des Deux Mondes, Sept. 15, 1850, as a review of Madame Cave's 
book "Drawing Without a Master": 

"This is the only method of drawing which really teaches 
anything. . . . 

"Can we wonder at the general aversion toward the study of 
drawing? Madame Cave, however, as she says in her preface, 
would have this study like reading and writing form one of the 
elements of education, by suppressing all false methods, and 
rendering instruction not only systematic but easy. . . . 

"But how shall we learn to draw? . . . Where shall time be 
found for the long apprenticeship in which the great masters 
spent their lives, and that in the absence of all methods? For 
there really is none in the study of drawing. . . . The best master 
can do no more than place a model before his pupil, telling him 
to copy it as well as he can. 

"A knowledge of nature resulting from long experience gives 
to the finished painter a certain skill in the process . . . ; but 
instinct still remains to him a surer guide than reason. This 
is why the great masters never stopped to give precepts upon the 
art they practised so well. . . . 

"Madame Cave's sole aim is to cultivate the eye correctly. 
Thanks to her method, which is simplicity itself, proportion, 
contour, and grace will come of themselves and appear on the 
paper or the canvas. By means of a tracing made upon trans- 



192 DRAWING AND PAINTING SELF-TAUGHT 

parent gauze from the object to be represented, her pupil cannot 
help acquiring a knowledge of foreshortening, that stumbling- 
block in all kinds of drawing. She accustoms the mind to all 
the absurdities and impossibilities it presents. By requiring the 
repetition from memory of the outline she gradually familiarizes 
the beginner with difficulties; this calls in science to the aid of 
growing experience, and at the same time opens to the pupil 
the career of composition, which would be forever closed without 
the assistance of drawing from memory. . . ." 

269. Madame Cave had no crayon that would draw on clear 
glass, so she used thin cloth stretched upon a sliding frame that 
was held upon an easel. The device was so large and expensive 
that only one could be provided for a class, but the results were 
so remarkable that the Minister of the Interior requested the 
Inspector General of Fine Arts to report upon the method. The 
following is taken from this report signed in 1851 by Felix 
Coitereau: 

270. French Government Report. — " Tracing a drawing or 
some object in nature seen through a thin gauze; reproducing 
the traced image by eye alone and ascertaining by means of the 
tracing if the reproduction is exact — this is the starting point 
of this method. . . . 

"This first exercise is followed by drawing from memory; 
the pupil is required to reproduce without the aid of the model 
(or the tracing) the drawing which she has previously made and 
traced. ... I have established the following results: 

"1. A remarkable correctness in the ensemble and contour 

of a figure or any other subject. 
"2. A reproduction from memory scarcely distinguishable 

from the original drawing. 
"3. Acquaintance with the masters. 

"4. Finally, the idea of perspective; that is, that without 

having learned any of the rules of the science, pupils 

execute correctly the greatest difficulties in the art of 

perspective foreshortening. 

"Thus by exercising the memory of children, giving accuracy 

of vision and firmness of hand at the age when their organs, still 

tender, are docile, Madame Cave renders them better qualified 

for the industrial professions, makes them skillful instruments 

in all the trades which pertain to art. 

"With the old methods one could not learn to draw before the 
age of twelve . . . because the judgment is not developed. 
With the ingenious teaching of Madame Cave the child of eight 
years learns almost unconsciously to observe and compare, to 
form his own judgment and at the same time to acquire that 



STATE LAWS ON DRAWING 193 

skill which is indispensable in every species of manual labor. 
Here, then, we have genuine improvement in the education of 
the children. . . ." 

271. This opinion should refute the arguments of those who 
claim that drawing will benefit only the few who follow art as a 
profession, but I also wish to quote a few sentences from the 
sermon, "Blessed be Drudgery" by Rev. William C. Gannett, 
.since of all studies drawing is the one which best develops the 
qualities named by Mr. Gannett as essential for success : 

272. Blessed be Drudgery. — "Our prime elements are due to 
our drudgery, — I mean that literally, the fundamentals, that 
underlie all fineness and without which no other culture worth 
the winning is even possible. These, for instance, — and what 
names are more familiar? — power of attention, power of industry, 
promptitude in beginning work, method and accuracy and de- 
spatch in doing work; perseverance, courage before difficulties, 
cheer under straining burdens, self-control and self-denial and 
temperance. These are the prime qualities; these the funda- 
mentals. 

"Again, then, I say, let us sing a hallelujah and make a fresh 
beatitude to Drudgery: Blessed be Drudgery! it is the one thing 
that we cannot spare. 

"This is a hard gospel, is it not? But now there is a pleasanter 
word to briefly say. To lay the firm foundations in ourselves, 
or even to win success in life, we must be drudges, — that I take 
for granted now. But we can be artists, also, in our daily task. 
And at that word things brighten. 

"'Artists,' I say, not artisans. The difference? This: the 
artist is he who strives to perfect his work, — the artisan strives 
to get through it. The artist would fain finish, too; but with 
him it is to 'finish the work God has given me to do!' It is not 
how great the thing we do, but how well we do it, that puts us in 
the noble brotherhood of artists. 

"A third time and heartily I say it, — 'Blessed be Drudgery!' 
For thrice it blesses us; it gives us the fundamental qualities of 
manhood and womanhood; it gives us success in the thing we 
have to do; and it makes us, if we choose, artists, — artists within, 
whatever our outward work may be. Blessed be Drudgery, — 
the secret of all Culture." 

EDUCATION FOR THE TALENTED. 

273. Talented Unable to Study. — I was appointed to the 
Faculty of the Normal Art School in 1882 at the age of twenty. 
Since then I have met thousands of students and have often 



194 DRAWING AND PAINTING SELF-TAUGHT 

found that those who continue art school study lack the interest 
and ability of many who are financially unable to enter an art 
school. Therefore I wish to propose a simple way to aid talented 
students to develop power by home study. 

Figs. 93 and 94 reproduce home work by two High School 
boys who used the Drawing Glass in connection with the Uni- 
versity Extension Course in Free-hand Drawing. At the time 
these drawings were made this course was restricted to five 
criticisms, but as these could extend over a full year great gain 
was possible. This is seen on comparing the faulty armchair in 
Fig. 93 with the well-drawn and difficult street scene. The boy 
who made these drawings was unable to continue art study 
beyond the five lessons given by the State. The boy whose 
work is shown by Fig. 94 took up newspaper illustrating and 
finally saved enough to attend an art school. 

274. The Talented should be Aided to Study.— The draw- 
ings made by these boys while in High School are much better 
than average art school results, and students of such ability who 
can not afford to enter art schools should be aided to do all they 
can at home, and then they should be assisted to study in some 
good art school. 

By home study of this book and a criticism once in two or 
three months of the results produced by the aid of the Drawing 
and Painting Glass such students could learn to draw and paint 
at home better than many art school students do after several 
years of study. (See the Frontispiece.) 

Students of ability thus taught would so raise the standards in 
art schools that the weak and frivolous students would drop out 
of their own volition, or be dropped because there would be room 
for only the serious students. Thus standards would be raised 
in art schools and in professional life. 

In France the talented student is assisted, and he must be 
in America if we are to lead in industry or the arts. This can 
be done by any art school that will apply the methods of this 
book to aid home students to overcome the crudities of un- 
trained vision. 

275. Home Study Class of the School of the Museum of Fine 
Arts, Boston. — Since object drawing has not been taught in the 
public schools, students have entered art schools entirely un- 
prepared to do the truthful drawing formerly demanded. Many 
art schools have lowered their standards to retain their students, 
and therefore many students who desire to do the best are mis- 
directed. 

The School of the Museum of Fine Arts is an exception, for 
now as always it demands the exact drawing and truthful painting 




Fig. 93. — Drawings from home study class made by a high school 

boy. The first was made before use of the Glass. The lower was 

sent for the fifth criticism after nine months' use of the Glass. 



196 DRAWING AND PAINTING SELF-TAUGHT 

which have prepared so many of its graduates to take first rank. 
But in recent years the work in this school became more difficult 
for both instructors and students, and so when the Faculty found 
that the methods of this book were proving more successful for 
beginners the School at once adopted them for the still life and 
perspective classes. 

A year's trial having proven that untrained beginners may 
make rapid progress in both drawing and painting, the School 
established a Home Study Class, and the Circular for 1922 states 
that "pupils who have done successfully a year's work in this 
class before entering the school may expect to be advanced more 
rapidly and thus shorten their school course." 

Art schools that believe in the old masters' methods, and try 
to secure truthful drawing and painting, must be interested in 
the method that caused the above statement to be made, for it 
holds out the hope that in spite of bad elementary instruction 
the art school student may now gain true vision so quickly as 
to have time for memory drawing, composition, and other es- 
sential problems that are crowded out when drawing must be 
studied by the old methods. 

276. Art School Home Study Classes. — Any art school may 
improve the standards of its classes by forming a Home Study 
Class, and advising students to learn to draw and paint still life 
by closely following the methods of this book for a year or more 
of home study before entering the school. 

The University Extension Course of Massachusetts now offers 
criticisms in outline drawing only, based on the use of the Drawing 
Glass. This barely starts the average student, but the State 
can do no more, and art school study assisted by the State will 
not be possible for many years, if ever. 

Such a course in outline is, however, not enough to interest 
most students with artistic power, for it demands too much 
practice from uninteresting subjects before the students can 
realize the need for it or the value of it. A few talented students 
may persevere and accomplish results such as those of Figs. 93 and 
94, but many students of ability will fail to continue unless the 
Painting Glass is provided, and the study of drawing and paint- 
ing carried on together. 

This method supplants theories and conventional corresponds 
ence instruction with independent and exact observation and 
self-discovery of mistakes, and will permit thousands in remote 
places to gain skill of eye and hand that otherwise would be 
unable to profit by good instruction. 

The serious student will find the Glass so helpful that there 
may not be need for more than three or four criticisms the first 




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J&siXLlJuiamJto^riuiLifc. 




-i -2a- Hours. 



Fig. 94. — Drawings from home study class made by a high school 

boy seventeen years old. These drawings were sent for the filth 

criticism after a year's use of the Glass. 



198 DRAWING AND PAINTING SELF-TAUGHT 

year. Thus self-taught progress will be rapid and inexpensive, 
and even if paintings were sent for criticism monthly, the expense 
would be but a small part of that required for many corre- 
spondence courses whose value may be indicated by the minus 
sign. 

Those who do not understand this method may oppose it. but 
the artists and art schools that teach honestly must realize that 
it will do more to aid art and the artist than any other influence. 

When all public school graduates are able, as they should be, 
to draw and paint simple subjects with the artist's vision for 
truth, the public will judge art on its merit and be eager to rec- 
ognize and support the few artists with real genius who will 
then follow art as a creative profession rather than as merely a 
descriptive or a representative trade. 

277. Prizes for Home Study. — Instruction can be given in 
such a Home Study Class for a small part of the fee demanded 
by many schools that promise much and do little except provide 
copies, theories, and technical training that are worthless to 
those who can not draw by sight from nature. 

When it is known that the best art school instruction is pro- 
vided for such home students, and that the self-criticism gained 
from use of the Glass is better for the beginner than personal 
criticism from any artist, there should result a profit that will 
in time establish a fund to aid talented and needy students to 
attend the school. 

Wherever the value of such a Home Study Class is proven, it is 
believed that gifts and bequests may be provided to enable all 
needy students who have shown their exceptional ability to 
attend the art school. 

The prizes established to aid the most talented and best- 
prepared students to study in the art school classes after all 
possible home progress has been made should not be enough for 
full support, and should be given as a loan to be repaid with 
small interest when the student is able. 

This idea offers more for the money required than any other, 
and should appeal to those who wish to benefit the race by an 
education that can be dispensed without danger of injuring those 
who profit by it. If the sacrifices and privations borne by art 
students in order to continue study could be known there would 
be an instant response to this appeal which would enable the 
talented to gain the training they can not secure now. 



REFERENCE BOOKS 199 



REFERENCE BOOKS. 

Before studying these books the following paragraph from 
"Lectures and Lessons in Art" by F. W. Moody* should be con- 
sidered: 

"If you wish to succeed as an artist, waste no time in theories 
. . . study not the words of critics but the works of the old masters 
— these alone will enable you to form a sound, broad and liberal 
judgment. There is good in all styles; use principles for your 
own guidance, not to condemn others. Talk little, do much, 
and you will acquire by work and observation a taste and power 
which will enable you to form a style of your own, free from an 
exaggerated regard for material on one hand, or from a reckless 
bravura of execution on the other. Always mistrust those who 
prove any particular art is wrong; and when an artist has a 
theory, you may be pretty sure it is only a cloak for his own 
deficiencies. Artists are particularly ingenious in this sort of 
self-deception; but nothing is a greater impediment in the race 
for true excellence than this. Leave them to their own ideas 
and beat them." 

The above advice was intended for artists, and those who 
wish to draw and paint well should follow it until their eyes are 
true for nature's effects. 

When study of this book and use of the Glass have given you 
true eyes you should read and observe widely to realize that 
though the painters' efforts to-day to represent transient effects 
of light and color constitute the latest and most difficult feat of 
vision, it is by no means to be judged the height of art attainment. 
In fact, you may be a master in representing appearances and yet 
fail to be an artist. 

For this reason I have included books with many and con- 
flicting opinions on art. Study them as you study pictures in 
order to evolve your own theories and your own methods, and 
try to realize that the other fellow may be as honest and as suc- 
cessful in his ideals as you are even when his viewpoint and re- 
sults are opposed to yours. 

ART AND ARCHITECTURE. 

A History of Art. Giulio Carotti. $5.00. 

A History of Ornament. A. D. F. Hamlin. $5.00. 

Apollo. A general history of the plastic arts. S. Reinach. $2.00. 

Art for Art's Sake. John C. Van Dyke. $2.50. 

Artist and Public. Kenyon Cox. $2.50. 

Architecture for General Readers. H. H. Statham. 



200 DRAWING AND PAINTING SELF-TAUGHT 

Art Education Scholastic and Industrial. Walter Smith. 

A Short -History of Art. Julia B. De Forest. $4.50. 

Concerning Painting. Kenyon Cox. $2.50. 

Considerations on Painting. John La Farge. 

History of Art. Goodyear. $3.00. 

Lectures and Lessons on Art. F. W. Moody. 

Mural Painting in America. E. R. Blashfield. 

Old Masters and New. Kenyon Cox. $3.00. 

Outlines for the Study of Art. H. H. Powers. $3.00. 

Photographs from Old Masters. (Reference only.) Braun. 

Reproductions of Old Masters' Drawings, such as the Dutch Masters 

by H. Kleinman. 
Royal Academy Lectures on Art. George Clausen. 
Six Lectures on Painting. George Clausen. $2.50. 
Ten O'Clock. J. M. Whistler. 

The Appreciation of Architecture. Russell Sturgis. 
The Architecture of Colonial America. Eberlein. $3.50. 
The Classic Point of View. Kenyon Cox. 
The Higher Life in Art. John La Farge. 
The Fine Arts. Baldwin 'Brown. 
The World's Painters. D. L. Hoyt. $2.00. 
University Prints. Bureau of University Travel, Boston. 

ANATOMY. 

Anatomical Diagrams. James M. Dunlop. $2.50. 

Art Anatomy. William Rimmer. $20.00. 

Figure Drawing and Composition. R. G. Hatton. $5.00. 

Human Anatomy for Art Students. Sir Alfred D. Fripp. $4.50. 

The Human Figure. Vanderpoel. $2.75. 

Tree Structure. Rex Vicat Cole. $4.50. 

COLOR. 

A Color Notation. Albert H. Munsell. $1.50. 
Chemistry of Color. Church. 
Color Study. Anson K. Cross. 90 cents. 
Text-book of Color. Ogden N. Rood. 

DESIGN AND COMPOSITION. 

A Discussion of Composition. Van Pelt. $2.25. 

A Manual of Decorative Composition. Henri Mayeux. 

Nature the Raw Material of Ornament. L. F. Day. $3.00. 

Ornament and its Application. L. F. Day. 

Ornament the Finished Product of Nature. L. F. Day. $3.75. 

Pattern Designing. L. F. Day. $3.00. 

Pictorial Composition. H. R. Poore. $4.00. 

Practical Hints on Composition in Painting. John Burnett. 

The Principles of Design. E. A. Batchelder. $4.00. 

DRAWING AND PAINTING. 

Applied Drawing. Harold H. Brown. $1.50. 

Brush and Pencil Notes in Landscape. Sir Alfred East, R.A. $3.75. 

Drawing for Art Students and Illustrators. A. W. Seaby. $3.75. 



REFERENCE BOOKS 201 

Drawing from Memory and Mind Picturing. R. Catterson-Smith. $3.00. 

Landscape Painting. Birge Harrison. $2.50. 

Learning to Draw. Viollet-le-Duc. 

Letters to a Painter. Ostwald (translated). $1.25. 

Light and Shade. Anson K. Cross. $1.50. 7 

Materials of the Painter's Craft. A. P. Laurie. $1.50. 

On Drawing and Painting. Denman W. Ross. $3.50. 

Painting and the Personal Equation. Charles H. Woodbury. $2.00. 

Pen Drawing. Charles D. Maginnis. $1.50. 

The Art of Landscape Painting in Oil Colors. Sir Alfred East. $4.50. 

The Painters Palette. Denman W. Ross. $1.50. 

The Practice and Science of Drawing. Harold Speed. $4.50. 

The Practice of Oil Painting. Solomon V. Solomon, R.A. $4.50. 

The Training of the Memory in Art. L. De Boisbaudran. $3.00. 

Technique of Painting. Charles Moreau-Vauthier. 

Tone Relations in Painting. Arthur Pope. $1.50. 

PERSPECTIVE AND TECHNICAL. 

Alphabets Old and New. L. F. Day. $3.00. 

Costume Design and Home Planning. Izor. $1.00. 

Elements of Perspective. Henry Lewis. 

Free-hand Perspective Theory. Anson K. Cross. $1.25. 

Introductory Course in Mechanical Drawing. J. C. Tracy. $1.80. 

Interior Decoration. F. Alvah Parsons. $4.00. 

Letters and Lettering. Frank C. Brown. $3.00. 

Mechanical Drawing. Anson K. Cross. $1.50. 

Modern Perspective. W. R. Ware. $4.50. 

Model and Object Drawing in American Text-books of Art Educa- 
tion. Walter Smith. 

Nature's Laws and the Making of Pictures. W. L. Wyllie. $6.00. 

Perspective in American Text-books of Art Education. Walter 
Smith. 

Perspective as Applied to Pictures. Rex Vicat Cole. $4.50. 

Perspective Sketches from Working Drawings. F. E. Mathewson. 
$1.50. 

Perspective for Art Students. R. G. Hatton. $3.00. 

Photo Engraving Primer. Horgan. 75 cents. 

Printing for School and Shop. F. S. Henry. $1.50. 

Problems in Mechanical Drawing. C. A. Bennett. $1.00. 

Writing, Illuminating and Lettering. Edward Johnston. $3.50. 

Other books may be as helpful as those named, and the student need not 
feel restricted to this list. 

The prices given are changing often, and some of the books are out of print 
and to be found only in libraries. 



202 DRAWING AND PAINTING SELF-TAUGHT 

APPROVED BY PAINTERS, SCULPTORS, EDUCATORS. 

Adams, Herbert, Sculptor. — "It is a most valuable aid for beginners." 

Andrew, Richard, Painter, Instructor Normal Art School. — "Your Painting 
Lenses instantly correct vision and enable beginners to record true relative 
values." 

Benson, FranklW., Painter. — "The Glass should be of great use to beginners 
and enable a pupil to advance with little instruction." 

Booth, Etta E., College of the Pacific, San Jose, Cat. — "I find it a wonderful 
help and should hardly know how to do without it." 

Bosley, Frederick, Painter, Instructor Museum of Fine Arts, Boston. — "After 
studying with you a short time your pupils show remarkable improvement. I 
approve of your methods." 

Dallin, Cyrus E., Sculptor, Instructor Normal Art School. — "The results you 
have achieved are a most striking testimonial to the value of the Drawing 
Glass." 

De Camp, Joseph, Painter. — *T have never seen in my long years of teaching 
such remarkable results as those you have obtained by use of the Drawing 
Glass." 

Deem, Mary G., State Normal School, Valley City, No. Dak. — "I am as 
enthusiastic as ever. My students, who never drew before, are amazed at 
their own progress. It should sell as a part of every school equipment." 

George, Vesper L., Painter, Instructor Normal Art School. — "The never- 
ending testimonies of your students, and many years of observation impel me 
to give with pleasure my unqualified approval of the clearness and efficiency 
of your methods." 

Grafly, Charles, Sculptor, Pennsylvania Academy of Fine Arts, Philadelphia^ 
Pa. — "Your teaching, in a way almost beyond belief, enables the beginner to 
gain a sure eye and touch. Your method in the study of drawing and painting 
is the most practical I have ever known. When those in charge of public, 
elementary, and art schools see the wisdom of such a course, — as they must 
when it is realized that the proper use of the Drawing and Painting Glass is 
not mechanical but merely a means to an end, — then the student will be better 
equipped to see, and, to see, after all, is one of the greatest things we are able 
to teach." 

Hale, Philip L., Painter, Instructor Museum of Fine Arts, Boston. — "Your 
results from beginners are surprising. I am pleased to recommend the 
Glass." 

Hamilton, Wilbur Dean, Painter, Instructor Normal Art School. — "Your re- 
sults from the entering class are extraordinary.' * 

Hazard, Arthur M., Painter.— "Your Painting Lenses are a most valuable 
aid in discerning color relations and values and your Drawing Glass teaches 
the principles of correct observation in the simplest manner." 



TESTIMONIALS 203 

Hibbard, Aldro T., Painter. — "The Glass is (of infinite value to students 
and painters desiring speed and correct vision. We owe much to Mr. Cross for 
his interest and perseverance in the advancement of honest art education." 

James, William, Painter, Instructor Museum of Fine Arts, Boston. — "The 
results from your pupils after a few months are sufficient testimony of the 
value of your methods. I know of no other as good." 

Jones, H. Bolton, Painter, New York. — "The Glass commends itself to me 
for the ease with which a student can compare his own work with the object." 

MacNeil, Hermon A., Sculptor, New York. — "I am convinced through 
trial that your Glasses are of great value in training the student to see and 
represent accurately. To me its chief value is its striking effect on the mind 
of the pupil, for it proves with his eyes and not with his teacher's, thus disarm- 
ing doubt and insuring progress." 

Major, Ernest L., Painter, Instructor Normal Art School, Boston. — "The 
artistic drawings your pupils make after use of the Glass please me greatly." 

Murphy, J. Francis, Painter. — "The Glass is a splendid corrective and fine 
for students. I congratulate you." 

Norton, Georgie L., Cleveland School of Art. — "In time all art schools will 
give your Glass a place in the teaching of elementary drawing." 

Nowell, Ethel K. S., Tolethorpe School, Newport, R.I. — "I am pleased to 
report that the Glasses in use have produced their unconscious and definite 
effect on the most wildly unseeing eyes." 

Patrick, Mary L., Director of Art, Wellesley, Mass. — "The Glasses have 
proved a great help to thoughtful drawing and self-reliant work by the pupils." 

Paxton, William M., Painter, Boston. — "Your first-year students show 
understanding that the average student gets only after long experience. It 
should be used in the public schools as well as in art schools." 

Peabody, Robert S., Peabody & Stearns, Architects, Boston. — "Teachers 
should welcome your Glass which substitutes absolute proof for their opinions 
and is not a get-rich-quick method." 

Randall, Asa G., Commonwealth Art Colony, Boothbay Harbor, Me. — "It is 
the quickest way to teach the appearance of objects that I have ever tried. 
Pupils get more interested when they learn to draw so rapidly." 

Robinson, William S., Painter, New York. — "I heartily recommend your 
Glass, which cannot fail to be of the greatest assistance to both teacher and 
student in elementary art study." 

Ross, Denman W., Harvard University. — "I have used your Drawing Glass 
in my classes and have urged other teachers to use it. It should be used in the 
schools wherever free-hand drawing is taught. It will be helpful to the 
teachers as well as the scholar." 

Sargent, John S., Painter. — "Frequent use of the Glass will put one on guard 
against any habitual error." 

Tarbell, Edmund C, Painter, Instructor Corcoran Gallery, Washington, 
D.C. — "The Glass is the best aid to drawing ever made. I wish it could be 
adopted by every school in the land." 



204 DRAWING AND PAINTING SELF-TAUGHT 

Taylor, W. L., Painter, Wellesley. — "I am glad to say your Glass is a very 
good thing. Please send me another for a child in whom I am interested." 

Varney, Charles E., Superintendent of] Schools, Gray, Me. — "One could not 
believe such results possible unless he saw the actual work both at the beginning 
of the term and now. The Glass will be a missionary to rural sections." 

Vonnoh, Robert W., Painter, New York. — "The use of your Glass revolu- 
tionizes the matter of drawing to such an extent that when the Glass is laid 
aside nearly all the drawings in a class of over one hundred seem evenly correct. 
Every school and every student would be benefited by its use." 

Walker, C. Howard, Architect, Director School of Design, Boston. — "The 
best aid to observation I have seen, being direct, sensible, and simple. The 
results from its use are remarkable." 

Journal of Education. — "This is one of the most important and significant 
revolutionary or evolutionary aids to drawing. In its line it is as distinct a 
discovery as those which have made men famous in science. It develops an 
eye for perspective and makes the artistically brainless, brainy in the use of 
eye and hand." 

School Arts Magazine. — "If you think you can draw an object correctly 
free-hand, this device will 'get the laugh on you' before you draw your breath 
a second time. If you think you cannot draw, it will teach you how. Equip 
your students with the Glass if you want to see astonishing results. 

"Miss Cross has proven that when the Glass is rightly used for correcting 
vision the average grammar school graduate can draw better than those sup- 
posed to be geniuses." 



THE SCHOOL OF THE MUSEUM OF FINE ARTS 
HOME STUDY CLASS IN DRAWING AND PAINTING 



This class offers the home student the first opportunity to 
obtain the best art school instruction based on the use of the 
Cross Drawing and Painting Glass. 

The following is from the School Circular for 1922:— 

"Sound and rapid progress is possible by a new method of self-criticism, 
but only as the reward of diligent study from nature in place of copies and 

"Pupils who have done successfully a year's work in this class before enter- 
ing the School may expect to be advanced more rapidly, and thus shorten 

"ISn apply to-Home Study Class, School of the Museum 
of Fine Arts, Boston, Mass." 

The fee of $10.00 provides the Drawing and Painting Glass, 
the book "Drawing and Painting Self-taught/' and criticisms 
of drawings or paintings. Registration at any time. 

LIST OF "CROSS" BOOKS AND MATERIALS. 

Drawing Glass, Mailing Case, and Crayons $1-25 

Painting Glass, Mailing Case, and Crayons 2.50 

(It is also a Drawing Glass) 

Painting Lenses (adjustable in finder with spirit-level) 1-75 

-Cross" Crayons 12, 30 cts.; 36, 75 cts.; gross, 2.50 

Drawing and Painting Self-taught 3 - 00 

Drawing and Painting Self-taught and the Drawing and Paint- 

s> .... 5.00 
ing Glass 

Free-hand Perspective Theory j-*j> 

Light and Shade * 

Mechanical Drawing ° 

Color Study 

A cheaper Drawing Glass for use in Graded Schools will be 
provided in lots of 30 or more at special low prices. 

Patented Oct. 15, 1912; Nov. 22, 1917; Aug. 9, 1921. Medal, 
Panama-Pacific Exposition. 

Order direct to avoid imitations without the spirit-level. 

All sent postpaid in United States on receipt of check or money 
order. 

Address for materials but not for Home Study Class: 

A. K. CROSS, Winthrop 52, Mass. 



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